Search results for ""damiani""

The book is a research on the syncretism of the Argentinian rural bandits. The project follows the footsteps of Gauchito Gil and San la Muerte, two of many folk saints not recognized by the Roman Catholic Church but which are flourishing in Argentina. The Gauchito Gil is a legendary character of Argentina’s popular culture. He was allegedly born in the area of Pay Ubre, nowadays Mercedes, Corrientes, possibly in the 1840s, and died on 8 January 1878. He became a mystical symbol of bravery stealing from the rich and giving to the poor. The book includes evocative pictures of the quacks, the pilgrims, the prayer centres, the gauchos arriving on horses to Mercedes the 8 January to celebrate the death of Gauchito Gil, those saved /cured by miracles, the most radical bandits with Gauchito tatooed, the Catholic Church representatives, and so on. Devotees of San La Muerte, which is depicted as a male skeletal figure holding a scythe, make offerings in hopes of favors ranging from health, fortune and protection to revenge. Toni Meneguzzo took the photographs included in the book in different Argentinian areas: Corrientes, El Chaco, Missione and Buenos Aires. The book includes texts by Andreas Sala, Daphné Anglès, Jean Blanchaert, Tommaso Basilio and Toni Meneguzzo.

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SARAI MARI has always been interested in the gender roles men and women play within society. We all share a desire to be understood and to be accepted. In our radically changing and highly judgmental society, people are often scared of being isolated or left behind. So they conform to fit in. But in adhering to an outside perception of oneself, we are unconsciously denying our true selves. The photographer has become obsessed with discovering the true people behind the masks. What lies hidden beneath the skin is often much more beautiful than which is projected outward. Since she was young she has seen a simple transparency in the complex relationships people have with each other. She breaks down the layers through her lens and the mask falls away, revealing an intimate vulnerability that makes time stop. Speak Easy book captures the essence of who her subjects are. By celebrating all definitions of gender and sexuality, the previously defined terms fall away. They lose their meaning; and there is nothing left but the raw expression of the subject in the image. This is the society we live in today.

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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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Fashion photographer Alexi Lubomirski was inspired to create this book, which represents diverse beauty without boundaries, after photographing the actress Lupita Nyong'o. Lubomirski was so impressed by Nyong'o's natural beauty that he felt she didn't need studio lighting because she radiated light from within. After shooting her, it struck him that he rarely had the chance to photograph beautiful women with a range of different "looks" for professional assignments. Often when he submitted a list of models he was interested in shooting, responses would be along the lines of "We love her, but ...", "Her hair is a problem ...", "She is too dark." In response, Lubomirski conceived Diverse Beauty, which celebrates many different types of female beauty through sophisticated and lively fashion photographs. Diverse Beauty embraces all beauty and aims to put every type of beauty on a pedestal, so that everyone who looks at it, no matter her race, size, colour, or sexual orientation, can identify and see herself as beautiful.

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From the watery and lush farmlands of the Mekong to the lush green rice paddies of the Red River region; from the crystal clear waters and sandy beaches of the coastline to the tropical mountains of the north; from the historic corridors of Hanoi to the bustling business, fashion and media center of Ho Chi Minh City, Dodge provides a captivating cross section of a country that has shaken off its violent past and now appears to be in constant motion. To be sure, Dodge's exploration reveals a country at a crossroads with serious economic and political challenges. But whatever Vietnam ultimately does to fix its economy or confront human rights issues, Dodge has provided viewers with a new and insightful perspective on a country that is once again connected to the United States and the West economically, politically and militarily.

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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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Brian Young took the pictures in The Train NYC, 1984, the year he moved to New York, when the city was recovering from an economic depression that began in the mid-1970s but whose eff ects were still quite visible. The loss of manufacturing followed by loss of population to suburbs led to large-scale urban decay and a decline in social services. Abandoned shells of burnt-out cars littered roadways, and muggings were a fact of daily life. The beginnings of the crack cocaine epidemic, with its coincident escalating crime, created an atmosphere of citywide malaise. Graffiti exploded and spread across the city landscape, in particular on the subway system. Although considered vandalism, graffiti's proliferation can be thought of as an act of social protest, an outcry for relief and reform, or a platform for the dispossessed. It was a bleak time; it was Gotham.

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Flowers in a Thorn Tree is the story of wildlife conservation in Northern Kenya. Over three years, Thackston made several trips to Kenya, whereupon he would imbed with ranger units of the Northern Rangelands Trust. They’re known as the Warriors for Peace and Wildlife. He lived off a troop-carrier. He would patrol, eat and sleep with the rangers, photographing them as they chased poachers, murderers, and as they worked within the pastoral communities. In this regard, the book is very much an “On the Road,” book. The aim of the photographer is to show and let the pictures tell, in a nonlinear and organic manner. NRT rangers work both on and off of their respective conservancies (there are 5 ranger groups, the 9-1 through the 9-5 sprinkled throughout northern Kenya.) Amongst the pastoral peoples, they have contacts who tell them about the movements of animal herds and potential poaching rings. They also work as peacekeepers within these communities with the idea that a happy and stable community is less likely to feel the need to poach an endangered animal. The mission to change the hearts and minds of the pastoral people regarding the treatment of endangered animals, is instilled within the ranks of the ranger units. The elephants and rhinos that appear in this book are all rescue animals or live on conservancies. They would probably not be alive without the efforts of men, particularly the rangers who populate my book. The rangers believe in their work. This group of humble men have one of the most important jobs in the world and they are succeeding. That’s good for you and me and our families.

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David Shama’s first monograph Do Not Feed Alligators takes us on an existential journey into the decayed post-capitalist topography of a largely forgotten America– one where he presents youth engaged in achingly commonplace activities. There is an overarching sense in all of these pictures that his subjects are the angel-headed hipsters of a generation that has somehow been left behind, traversing what is left of a tragic, broken landscape–their thousand-yard stares seeking Elysian fields glinting seductively in the setting sun of their minds, far beyond the edge of the world. Shama employs Americana to map a narrative of existence among the flotsam and jetsam of society, where abandoned cars, vacated diners and dive motels act as the leitmotif of a journey into being and nothingness. While there are flashes of naturalistic beauty in the way in which his young muses are caught in the eye of his lens, there is no sentimentality, rather every frame contains a haunted, limbo-esque atmosphere. These figures, we are always aware, count their number among the beautiful and the damned. Ultimately, Do Not Feed Alligators seeks to suggest that we are all on a metaphorical road to nowhere– an apocalyptic landscape of the soul that is both beautiful in its mundane temporality, and boundless in its potential for quietly enticing mythology. Frecnh: La première monographie de David Shama, Do Not Feed Alligators, nous entraîne dans un voyage existentiel à travers la topographie post-capitaliste délabrée d'une Amérique largement oubliée - une Amérique où il présente de jeunes gens engagés dans des activités extrêmement banales. Il y a un sentiment général dans toutes ces images que ses sujets sont les anges branchés d'une génération qui a été en quelque sorte laissée pour compte, traversant ce qui reste d'un paysage tragique et brisé - leurs regards lointains scrutent les champs élyséens qui scintillent séduisants dans le soleil couchant de leurs esprit, bien au-delà des frontières du monde. Shama utilise l'Americana pour cartographier un récit sur l'existence au sein d’une société perdue, où les voitures délaissés, les restaurants abandonnés et les motels bon marchés sont le leitmotiv d'un voyage dans l'existence et le néant. S'il y a des éclairs de beauté naturaliste dans la façon dont ses jeunes muses sont prises dans l'œil de son objectif, il n'y a pas de sentimentalité, mais plutôt une atmosphère hantée et limbesque. Ces personnages, nous en sommes toujours conscients, comptent parmi les beaux et les damnés. En fin de compte, Do Not Feed Alligators cherche à suggérer que nous sommes tous sur un chemin métaphorique vers nulle part - un paysage apocalyptique de l'âme qui est à la fois beau dans sa temporalité mondaine et illimité dans son potentiel pour séduire tranquillement par sa mythologie. Spanish: Spanish: Un viaje hacia la América olvidada es la nueva propuesta de David Shama, un fotógrafo suizo que se entrega de lleno a cada trabajo que realiza. Do Not Feed Alligators es el primer libro monográfico que publica, una verdadera experiencia emocional para el espectador. Coches abandonados, restaurantes sin comensales y moteles destartalados constituyen el paisaje decadente de una sociedad postcapitalista. En medio de una rutina gris, jóvenes que conservan aún la belleza de los que creen en sus sueños. La temporalidad nos atrapa en un camino hacia la nada y Shama presenta esta realidad embrujada para transportarnos al espacio sin límites de la mente humana. David Shama es más conocido por su trabajo en el mundo de la moda, pero des del 2005 no ha parado de fotografiar la vida en su expresión más espontánea y natural. El artista parece tener una capacidad innata para hallar belleza en lo ordinario, en lo raído, y cargar de emoción cada una de sus fotografías; quizá por ello se ha hecho un nombre en el mundo del fotoperiodismo, ha expuesto en varias galerías y publicado en distintas revistas. Uno de sus particulares proyectos en busca de la espontaneidad ha consistido en crear series fotográficas a partir de rutas de una semana con chicas a las que acababa de conocer. En ellas, el viaje y el descubrimiento de nuevos paisajes iba acompañado del viaje simultáneo hacia el mundo interior de las modelos.Cada una de las imágenes de Shama es el reflejo de su propia fascinación por lo auténtico, un lenguaje visual sin pretensiones capaz de conmover a cualquiera. Ahora, el fotógrafo nos seduce con Do Not Feed Alligators, un relato acerca la existencia humana desde una veracidad y una cotidianidad estremecedoras.

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The ‘Warzone Collective’ began in 1984 in the city of Belfast, Northern Ireland when a few local punks decided to consolidate their efforts and get their own venue, practice & social space. In 1986 the Collective opened its first premises in Belfast called ‘Giros’. It provided a vegetarian cafe, practice space, screen printing facilities, etc. Over time the space soon became a focal point for anarchists, punks & other forward thinking individuals. In 1991 the Collective moved to a larger and more ambitious venue, which is where all of the photographs in this book were taken. Over the years thousands of people passed through Giros’ doors and were exposed to some amazing bands, and new ideas. A strong D.I.Y. ethic defined the way gigs and events were organized. Over time, a recording studio, screen printing & photographic dark room facilities were set up, along with a vegetarian cafe. It didn’t have an alcohol license - Giros was an all ages venue. The ‘Warzone Centre’ or ‘The Centre’ as it was called by some, became the counter-cultural alternative hub for the greater Belfast area and beyond. Bands from all over the world came here to play. It soon became infamous as being one of the most credible venues in Europe for D.I.Y. punk. The photographs in this book were taken sporadically over the years somewhere between 1997 - 2003. A small window of time considering the Warzone Collective opened its first venue in 1986. Towards the end of 2003 the Centre closed for a number of different reasons, leaving a huge gap in radical Belfast culture. In 2011, the Warzone Centre reopened after an 8 year hiatus, in a different venue on the opposite side of town. It is still going strong today.

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Walt Cassidy (b. 1972) is a multimedia artist and designer based in Brooklyn, New York. Throughout the 1990s, as Waltpaper, he was at the center of the New York City Club Kids movement. In 2014, Walt Cassidy Studio was established as a jewelry brand and has expanded to include interiors-based murals. Cassidy’s explorative and allegorical work incorporates photography, drawing, sculpture, painting, and jewelry, and has been exhibited at MASS MOCA, Paul Kasmin Gallery, Deitch Projects, 303 Gallery, Torrance Art Museum, Watermill Center, Miami Basel Art Fair, Leslie- Lohman Museum, and Invisible Exports. Publications include Vogue, Elle, Artforum, Wall Street Journal, The New York Times, and others.

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Daisy Chain is the new platform from Phillip Bogart Duncan and Charles Daigrepont Desselle. Published by Damiani, it is a print publication and online presence exploring the future of photography at the intersection of art and fashion. Decadent and surprising, lushly-produced yet unfussy, Daisy Chain offers an authoritative and fresh take on the indisputable influence of art photography, pitched against the backdrop of art history. With both a curatorial eye and an instinct for the new, Duncan and Desselle seek to re-investigate the canon: previously overlooked work is celebrated, and rising talent is supported. Never indulgent, their selection pinpoints the current moment, as well as the foundation it springs from. Printed in Italy and distributed worldwide, Daisy Chain presents a roster of thought-provoking contributors. Its inaugural issue includes original work from Emma Summerton, Shaniqwa Jarvis and Kuba Ryniewicz––and promises a visual feast targeting accomplished fashion figures and dilettantes alike.

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Portraits of resilience and vulnerability, with QR-linked audio of comments and anecdotes from Stipe In this third, photo-based chapter of the Damiani series, Michael Stipe explores strength, courage and vulnerability, pausing the project abruptly due to the COVID-19 pandemic. What follows is a lockdown interpretation of a 21st-century portrait, with a resolute desire to show our resilience, our humour, our collective fortitude and our adaptability. Through unique QR codes, the book is enriched by free audio content which deepens and enhances the discovery of the images. Scanning the QR code opens access to the “making-of” anecdotes and the intention behind the book, as told by Stipe. As an undergraduate studio art major at the University of Georgia, Michael Stipe (born 1960) studied photography and painting before leaving school upon the formation of R.E.M., the band for which he served as frontman and singer/songwriter until its dissolution in 2011. The sensibility that he began to develop during his time as an art student transferred to the spectrum of his work for R.E.M., from art directing all graphic, video and stage design, to writing, composing and performance, and his iconoclastic personal style. Stipe’s visibility as a media figure in the popular culture of the 1980s and ’90s left an indelible mark on the aesthetic trends of the time, many of which have trickled down to contemporary culture.

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National Anthem is a celebration of outsiders and the immense beauty of chosen families everywhere. Growing up in Colorado with his father in the Professional Rodeo Cowboy Association, Luke Gilford spent his formative years around the rodeo, an American institution that has often been associated with conservatism and homophobia. It was only later, when he discovered the International Gay Rodeo Association (IGRA), that he began to see himself as part of a rodeo family. The IGRA is the organizing body for LGBTQ+ cowboy and cowgirl communities in North America, a safe space for all genders and races. The queer rodeo brings in participants from rural regions all over America for structured educational programs and competitions, facilitating opportunities to hone athletic skills, connection and care for animals, personal integrity, self-confidence and support for one another. Gilford has spent over four years traveling the country to document this diverse and ever-evolving subculture. S

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An homage to melliferous, unifying art of dance, as captured over the course of 10 years and across four continents. A follow-up to the photographer Matthew Brookes's Les Danseurs, published in 2015, Expression of Freedom once again deep-dives into the melliferous world of dance, celebrating the togetherness and inclusivity found through the art form. In the last ten years, Brookes traveled across four continents for this grand photographic project, capturing dancers in motion within their geographic contextsParis, Milan, London, South Africa, New York, Brazil and Los Angeles. The dancers showcased are representative of a diverse array of backgrounds and ages; acclaimed professionals share space with street performers. Dancers include: Marie-Agnes Gillot, Aurelie Dupont, Carolyn Carlson, Roberto Bolle, Friedemann Vogel, Hugo Marchand, Germain Louvet, Guillaume Diop, Leroy Mokgatle, Matthew Ball, Megan Lecrone. They are representatives of the most prestigious dance companies in the

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We Started a Nightclub: The Birth of the Pyramid Cocktail Lounge as Told by Those Who Lived It is the story of the beginnings of the club that was the launching pad for countless talented performers, musicians, and artistsmany at the earliest stages of their careers. It begins in 1981 at the last moment in the city's history when the East Village was considered a dangerous no man's land, rents were cheap, AIDS was still unknown, and a new generation of creators broke the mold and went on to make art in an atmosphere of unbridled celebration. An oral history told through more than 75 interviews, it covers the early years of the Pyramid from the time of its founding through its rise, near demise, and rebirth as the first producer of downtown's annual Wigstock festival. The book includes narrative commentary by Butterick, Martin, and Nakas; press releases, and never-before-seen photos, snapshots, flyers, and other ephemera The Pyramid, at 101 Avenue A, was ground zero for an explosion of

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Tony Caramanico has lived many lives. A competitive surfer, TV producer, surf shop owner, astute traveler, apprentice and artist, few have experienced more phases of surfing's development than Tony. Unlike more established sports, surfing's pop cultural adoption began largely in the 50s and 60s. While unfortunately a dying breed, those who've played a key role in its development are still around to impart their wisdom. Steeped in experience, their stories of a time before surfing's commercialization told with an off the cuff you should have been there attitude are relatable to all in search of freedom from today's hyper regimented world. With memories rooted in empty white sand beaches, hard yard travel and the endless pursuit of new sensation, surfing's OGs constantly inspire ideas of an untethered existence. This book will be predominantly composed of Tony's art as these pieces are literal representations of his surfing life. These legible journals will provide a unique window into

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This Is My Life I'm Talking About by Danny Lyon is a picaresque memoir written from inside the heart of the revolutionary twentieth century by one of its most crucial witnesses. From his groundbreaking documentation of the Civil Rights Movement and his role in pioneering the New Journalism Movement, to his intimate portrayals of motorcycle subcultures, Lyon's work has left an indelible mark on the world of photography. A love story of a beautiful friendship with the great American hero John Lewis - Danny Lyon writes with the tremendous and generous feeling, humor, and a selection of unpublished and unseen pictures ties in Danny Lyon's life to 'The Bikeriders'. His story begins in Russia under the Czar, when in 1905 Lyon's uncle Abram is involved in the murder of a policeman during a pogrom and fled to Brooklyn, where, during World War Two, Lyon was born.

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Athênai, In Search of Home expands Niko J. Kallianiotis’ first monograph America in a Trance, and the work produced in Pennsylvania, which for two decades became his second home. If America in a Trance was about his departure from Athens, Athênai, In Search of Home is about coming back to his roots, eager to assimilate within a place that over the years grew to be foreign but at the same time maintained its layers of familiarity. The photographs navigate through the metro areas of Athens within an utterly diverse setting, all the way to the periphery and within a more rural and industrial stage that is vital to the character and condition of Athens. Throughout the years the city and the surrounding territories have experienced their share of socio-economic struggles and topographic transformations that have altered its identity. Despite these facts the city still stands, at times proudly and at others solemn, but always fervent to maintain its uniqueness and its yearning for a new identity, in search of new home, within one that already exists. And the city of Athens in Kallianiotis’ photographs is elliptically delineated as a vibrant environment that binds together luxury and social inequality, through which a colourful language of images and symbols makes itself all the more present, a city unpredictable and saturated with history. Kallianiotis eloquently depicts in this series of photographs a city in which the temporal and the spatial elements often clash with each other, while conducting his research for a home that has changed over the years as much as he did.

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"Patrick's work offers a mesmerising journey around the world in search of the divine, offering a timeless portrait of people living on the fringe, creating life on their own terms." - i-D For more than 25 years, French photographer Patrick Cariou has traveled to far out places around the globe, documenting people living on the fringes of society and making a way for themselves. Whether photographing surfers, gypsies, Rastafarians, or rude boys of Kingston, Cariou celebrates his subjects as they are: peoples of the earth who meet the struggles of life with honor, dignity, and joy. Bringing together works from his groundbreaking monographs including Surfers, Yes Rasta, Trenchtown Love, and Gypsies, Works 1985-2005 takes us on a scenic journey around the world, offering an intimate and captivating look at cultures that distance themselves from the blessings and curses of modernism. Given access to these hermetic realms, Cariou presents a fascinating portrait of resistance in a multiplicity of forms. The landscape plays a vital role in Cariou’s work, revealing how people live shapes their identity and destiny in equal part. Whether following the waves, living in the mountains, or surviving urban and rural poverty, Cariou’s subjects reval the importance of preserving one’s native culture at a time of Western cultural hegemony. The spirit of pride and defiance comes alive in his work; each of the peoples portrayed have found a way to survive despite the brutality facing them and the earth alike.

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Michael Hauptman’s first monograph presents a selection of his personal work that explores the themes of nature, technology, phenomena and the cosmos. Hauptman sometimes uses digital manipulation not to make pictures that looks unreal but to attempt to depict mysteries of time and space. A former photo assistant of Richard Burbridge, Michael Hauptman has been taking pictures and living in New York City for the last 15 years.

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“The real charm of Byways isn’t playing spot-the-location as Deakins dabbles between takes, but the window it opens onto his youthful eye. You can trace his drive from an early age to catch the light at its best – or wait for it – all night if necessary.” - The Telegraph “…his first monograph, Byways, looks not to his revered cinematography career, but his decades-long habit of taking still photographs. Among them are breathtaking landscapes and moments of stillness, interspersed with photographs imbued with wit thanks to the playful possibilities of scale, framing and timing. It’s the kind of dry humour that sits passers by in conversation with monuments and miscellaneous objects in the street, or captures a canine rendition of Cartier-Bresson’s seminal image Behind The Gare Saint-Lazare. – Creative Review “Candid close-ups, wide-angle landscapes, and dynamic long exposures, his monochrome photographs display a variety of approaches and techniques, yet first and foremost, testify to the remarkably perceptive artistic gaze that has seen him nominated for an Oscar on fifteen separate occasions (winning twice). Thoughtful, poetic, and profoundly arresting, they display his distinct enigmatic sensibility, and presented for the most part with little or no information or context (index aside) form a compelling visual soliloquy that conveys with great eloquence, the profound power of the still image.” The Independent Photographer “An intimate introduction to the man behind the lens” – The Times Portraits and landscapes from the cinematographer famed for his work with Sam Mendes and the Coen brothers This is the first monograph by the legendary Oscar-winning cinematographer Sir Roger Deakins, best known for his collaborations with directors such as the Coen brothers, Sam Mendes and Denis Villeneuve. It includes previously unpublished black-and-white photographs spanning five decades, from 1971 to the present. After graduating from college Deakins spent a year photographing life in rural North Devon, in South West England, on a commission for the Beaford Arts Centre; these images are gathered here for the first time and attest to a keenly ironic English sensibility, also documenting a vanished postwar Britain. A second suite of images expresses Deakins’ love of the seaside. Traveling for his cinematic work has allowed Deakins to photograph landscapes all over the world; in this third group of images, that same irony remains evident.

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100 Churches of Venice and the Lagoon is a photographic project started by Merizalde in 2014, alongside a broader body of work that began in the city in 2008. The color photographs in this book document religious temples from every "sestiere" of Venice, and the smaller towns of the Venetian lagoon. Starting in every neighborhood in the city, and navigating the Venetian lagoon-from Murano to Burano and Torcello, from Pellestrina to Chioggia, and deep into the northern lagoon to areas like Lio Piccolo, Mesole and beyond-he found and photographed their respective churches whether they remained in service or were deconsecrated or repurposed. Following their architectural similarities, the book presents a layout that favors the façade, relying on this subtle repetition for artistic sustenance and balance. A poignant essay by Marina Gasparini Lagrange provides an account tthat combines her personal experience as a former resident with a balanced historical perspective. 100 Churches of Venice and the Lagoon presents an in-depth view of Venetian culture and history through its place of worship in a book of exceptional appeal.

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Nor Dread Nor Hope Attend. Photographs from the Plains of Africa gathers 65 stunning black and white photographs of the icons of the Kenyan wilderness. This is David Gulden’s second monograph and the culmination of seven years work. With his masterful eye, he has perfectly captured the elegance and beauty of lions, elephants, zebras and giraffes in their natural habitat. With a title from a poem by acclaimed Irish poet W.B. Yeats, Nor Dread Nor Hope Attend includes text by Dr. Richard Leakey, journalist Fiammetta Rocco, and American artist Alex Beard.

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Inspired by John Szarkowski’s 1973 Looking at Photographs, and paying homage to the concept of the one hundred images and a page of text for each, Stephen Frailey now updates this classic with significant works of photography from early 80s to the present. Looking at Photography covers all genres of photography, and through discussing the process of the individual works Frailey – as photographer, editor and educator - articlulates the themes and sensibilities of contemporary photography. The book is illustrated with major works by acclaimed artists such as Tina Barney, Jeff Wall, Steven Meisel, Nan Goldin, Helmut Newton, Martin Parr, Tim Walker, Wolfgang Tillmans, among others.

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Daydreams Walking is comprised of 196 photographs shot on the streets of New York City by Jeremiah Dine between 2010 and 2017. Dine’s exploration of the daily ebb and flow of humanity follows in the tradition of 20th Century street photography as practiced by Henri Cartier-Bresson, Robert Frank and Garry Winogrand, among others. The city illuminated is the subject, with the people, objects and streets the supporting cast. Dine has photographed on the streets of New York since he was a teenager, first in black and white with 35mm cameras, then starting in the 2000s in color with digital cameras. The book’s title is derived from the Frank O’Hara poem Music, which is included in the book, as well as a playlist of songs that Dine listened to while walking and shooting. Robert Sullivan, author of Rats, The Meadowlands and My American Revolution contributes an essay. The book was designed and edited by Yolanda Cuomo.

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Contemporary ideals about what constitutes beauty have gradually become more homogenized due to the widespread popularity of shared digital experiences. Before the emergence of the internet, application of makeup for the majority of non-celebrity civilians was a process of untutored, organic self-experimentation. Photographer Jason Hetherington and make-up artist Mel Arter debunk the modern-day fashion industry bias towards airbrushed perfection with their collaborative insight entitled, Elements. The book presents an exhilarating, uninhibited study of cosmetics, landscape and light – taking a hedonistic trip to a bygone era of analogue film photography and bold, spontaneous artistry inspired by natural, environmental forms. Celebrating the powerful relationship between human and earth, Elements is an iconic ode to a time when makeup represented freedom, ritual and instinctive creativity. Their work has been published across international fashion magazines and beauty campaigns worldwide.

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The Margulies Collection at the Warehouse is a non-profit institution located in a 45,000 square foot retro-fitted warehouse in the Wynwood Arts District of Miami. The Warehouse presents seasonal exhibitions from the collection of renowned collector Martin Z. Margulies as well as educational programs, special exhibitions and an international loan program. With a stated mission of education in the arts, the Warehouse has welcomed thousands of students and visitors from all over the world. It is operated and funded by the Martin Z. Margulies Foundation, a thirty year resource for the study and enjoyment of the visual arts. The Martin Z. Margulies Collection Vol. 2 includes photography, video and installation works that have been shown at the Warehouse since it opened. The text includes essays by Barbara London, Marvin Heiferman and Mike Danoff. The catalogue is further illustrated with major works by artists from throughout the last century, such as Stephen Shore and William Eggleston, Anselm Kiefer, Doug Aitken, Tony Oursler, Richard Serra, Paola Pivi, Malick Sidibé and many others. Filled with countless insights and treasures, Martin Z. Margulies Collection Vol. 1 and Vol. 2 are a journey through one of the most exceptional collections of art in America.

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This beautifully crafted, thoughtfully-paced book will showcase selections from the renowned private collection of Margulies. The text will include essays and an interview by Michael Danoff. The book will feature full-color reproductions of the art as well as images of human interest items that add depth to the works and uncover the personality of the collector. The Martin Z. Margulies Collection is a two-volume hardcover book containing over six-hundred color reproductions. Volume I will feature the Private Collection of art in the collector’s home. Volume II will present the Margulies Collection at the Warehouse: a not for profit, open-to-the-public space, and will include vintage and contemporary photography, video, sculpture, and large-scale installation art, placing special emphasis on past exhibitions. Each volume will be sold separately, or together housed in a slipcase.

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Mistral is a portrait of Provence seen through its legendary wind. Photographer Rachel Cobb illustrates the effects of this relentless force of nature that funnels down France’s Rhône Valley, sometimes gusting to hurricane strength. The mistral is not just a weather phenomenon: it is an integral part of the fabric of Provençal life impacting its architecture, agriculture, landscape and culture. Houses have few or no windows on the northwest, windward side and the main entrance on the southern, sheltered side. Rows of trees lining fields create windbreaks to shield crops. Artists have long been drawn to the area for the clear skies that follow a mistral. Nobody who lives or spends time in the region can escape the mistral. It is everywhere yet nowhere to be seen. How do you photograph the wind? With images of a leaf caught in flight, grapevines lashed by powerful gusts (“You can taste the wine better when there’s a mistral,” a winemaker says), a bride tangled in her veil, and even spider webs oriented to withstand the wind. Out of thin air Cobb makes us feel the unseen. Including an introduction by Bill Buford and an excerpt from Paul Auster about his life in Provence. Cobb draws from writing by Jean Giono, Frédéric Mistral and others. The book is designed by Yolanda Cuomo Design, NYC.

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A brief movement after death by Caleb Cain Marcus explores the release of energy from the body into the universe when we die. The images were taken along the coasts of New York and California and contain sky and ocean—immense bodies of space that we can lose ourselves in; becoming part of their vastness. The inspiration for the book came to the photographer from a personal experience. With the birth of his daughter, his death suddenly felt very near. His childhood questions about what happens when we die resurfaced and Marcus began to think about how to visually represent what occurs after death. The work represents the starting point of his new practice that juxtaposes digital and hand-applied mediums to create a hybrid surface, color and edge that challenges the medium of a photograph and the way in which it is seen, understood and felt. With the motion of a pendulum the grease pencil is swung by a string to make tightly grouped marks that reference the finite quantity of time in a lifespan and that move across the paper as if in a formation of light leaving the earth.

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This long overdue monograph presents a panorama of portraits from the photographer William Coupon. Coupon was given wide access to artists, musicians, politicians, authors, and the world’s indigenous people on assignment from major publications like Time , Rolling Stone , The New York Times , Esquire , and The Washington Post . He photographed his subjects against a mottled backdrop of hand-painted Belgian linen, often in a classically lit medium shot format, inspired by Dutch masters such as Rembrandt and Holbein. Coupon has remained true to this method, whether working in the Oval Office in Washington D. C. or a tribal hut amongst the Pygmy in the Central African Republic, or the Caraja in the Brazilian Amazon. Environmental images compliment the more formal portraits. Portraits includes iconic images of Mick Jagger, Miles Davis, Elie Wiesel, David Byrne, Presidents Nixon, Carter, Bush, Trump, George Steinbrenner, Jean Michel Basquiat, Andy Warhol, and Prince Philip among many others from Haiti, Panama, Holland, Northern Scandinavia, Australia, Malaysia, Turkey, Italy, Peru, Mexico and other places. Coupon has created a collection that documents his times but also captured his generation in all its vibrancy. In his work, he seeks to present a truly egalitarian portrait of humanity integrating common people with the wealthy, powerful, and famous.

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The second book by Simon Eeles spanning over two summers in Far Rockaway beach this project is the artist’s idea of happiness and honesty. Working from a tent perched on the edge of the beach, he works with strangers to paint a picture on the Colorful and diverse fantasy this is Rockaway beach. Having worked under renowned British fashion photographer Craig McDean, Eeles creates images with sharp, fashion-world glamour, even when working with a raw beach culture saturated in the eccentric New York style.

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Hello Stranger is the new book by the theater group Motus, whose hybrid work has unleashed dramaturgy and artistic languages as well as produced new scenic forms since its founding in the early 1990s. Hello Stranger is an “atlas of images” and textual fragments focused on eight thematic chapters. These topoi have been transformed throughout the years, through the evolution of time and the bodies that have inhabited Motus’s stage. Built around the photographic images of the almost 100 shows that Motus has created, the words are a “choral” accompaniment, almost a polyphonic soundtrack, featuring the short contributions of company members, their fellow artists, and critics.

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Diary of a Set Designer is a book of Polaroids that Happy Massee shot over a 25-year period, while travelling the world as a production designer. This photographic journal is a journey through time--a collection of images taken with the nowdefunct Polaroid camera, which at the time was as essential to the art of designing for film as was a measuring tape. The images of personalities, sets, locations, and encounters all tell a story related to Massee's work and travels and the people he met while on them. The images in this book, which was designed by Fabien Baron, are raw, unretouched, and candid and capture his art as well as his life.

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In 1978 as the school year drew to a close two of my high school students who had tickets to a Rolling Stones Concert approached me and asked if I would like to go with them to the concert. After discussing it with my wife Nancy, who thought it was a good idea and promising photo opportunity, I was enthusiastic to go for the experience. My students were delighted that I'd be joining them. Besides they needed me to drive us to Philadelphia from Long Island, New York. So off we went for whatever adventure might lay ahead. And I carefully packed my three 35mm cameras and plenty of b&w film to record the event. Recently, I was inspired to revisit the contact sheets from that one day and choose images that still spoke to me after so many years. Here are some of those photographs I took on June 17th at JFK Stadium surrounded by 90,000 Rolling Stones fans who were so open to my camera. One footnote...Bill and Chris, my two students, are still in touch and we are good friends to this day. I am forever grateful to them for our trip to that Rolling Stones Concert.

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Gap Chul LEE creates formidable, intense black & white photographic images that perfecty capture the spirit of Korean culture. LEE’s audacious camera work conveys an oppressed primal impulse and world of shamanism rooted deep in Korea’s collective unconscious. This stems from his characteristic manner of work; approaching subjects intuitively and directly and by depending on contingency, free from aesthetic consideration; and also by preferring rough cropping to a tidy finish or meticulous composition, drawing out chaotic force rather than a harmonious virtual world. This book includes Gap Chul LEE’s most iconic series of works, Conflict and Reaction (1990-2002) and Energy-Qi (2002-2007), as well as his ongoing projects (2008-present). More than half of the book covers the projects underway, which are previously unpublished. Although these works are separate entities, they can be read as a single body of work as they connect solidly to one another in terms of tugging at the vitality and spirituality one possesses.

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"A 'wrong' family moment that is full of truth." Like seventeenth century Dutch painters who made otherwise ordinary interior scenes appear charged with meaning, Jessica Todd Harper looks for the worth in everyday moments. The characters in her imagery are the people around her- her friends, herself, family- but it is not so much they who are important as the way in which they are organized and lit. A woman helping her child practice the piano is not a particularly sacred moment but as in a Vermeer painting, the way the composition and lighting influence the content suggests that perhaps it is.Most of the time everyday scenes don’t mean anything to us- in fact, it is a modern truism that we seek to be distracted from them. We scroll through our phones rather than be alone with our thoughts, our selves or even our families. This collection of photographs makes use of what is right in front of me, what is here, a place that many of us came to contemplate especially during the pandemic. Beauty, goodness and truth can reveal themselves in daily life, much like in Kant’s notion of the Sublime or simply in the Dutch paintings of everyday domestic scenes that are somehow lit up with purport. Our unexamined or even boring surroundings can sometimes be illuminating.

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With a career spanning over three decades, internationally acclaimed artist Alexis Rockman is well known for his complex, large scale paintings and works on paper depicting the collision between civilization and nature. The artist synthesizes elements of human history, natural science and landscape painting; a passionate interest in climate change and globalization; and a healthy dose of art history and science fiction, to create images that reveal our world balancing on the precipice. Beyond their lush surfaces, radiant washes of color, and technical inventiveness belies a dark humor, an intense curiosity and a probing intelligence that serves to heighten the power and urgency of his invented narratives. Works on Paper is the first comprehensive survey of the artist’s graphic work, documenting his extraordinary accomplishments as a draftsman through a meticulous selection of watercolors, gouaches, oil drawings, field studies, and sketchbooks. Designed in close collaboration with the artist, the book reproduces 120 works, many of which have never before been published. Included are his earliest watercolors from the 1980s, often of hybrid and mutated animals; Field Drawings, created in Guyana and other remote locations from mud sourced on site; the ominously beautiful and apocalyptic Weather Drawings; painterly works relating to his epic The Great Lakes Cycle; and Lost at Sea, his most recent body of work reimagining famed and historic shipwrecks. The book includes a visual appendix of Rockman's graphic influences, with commentary by the artist. Works on Paper is a valuable addition to scholarship on the artist, providing a critical understanding of a visionary oeuvre made at the intersection of art, nature and science.

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The artist’s studio occupies a unique place in the popular imagination. Its environment is both the site of the artist’s creative production, and a deeply private, personal space that nourishes and bears witness to the artist’s working process, in a continuous interplay with its location, layout, interior and ambience. This rare access to the studio by a trusted visitor provides a unique opportunity to experience the lives of artists working in New York, through their methods, materials and influences, contained within the intimate space of the studio, and observed with an acutely sensitive eye. Artist Studios in New York – which Marco Anelli has been exploring since 2011 - leads the viewer into the creative process of internationally famous artists such as Alex Katz, Alfredo Jaar, Cecily Brown, Dan Colen, Elisabeth Peyton, Francesco Clemente, Jack Pierson, Joan Jonas, Joyce Pensato, Jonas Mekas, Jordan Wolfson, Julian Schnabel, Julie Mehretu, Kiki Smith, Lawrence Weiner, Mariko Mori, Marina Abramovic, Matthew Barney, Mickalene Thomas, Nate Lowman, Pat Steir, Rob Wynne, Robert Longo, Stanley Whitney, Tony Oursler, Ugo Rondinone, Urs Fisher, Vik Muniz.

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The upcoming ToiletMartin PaperParr wall calendar 2019 features photographs conceived by Martin Parr, Maurizio Cattelan and Pierpaolo Ferrari, a back-to-back of images made in collaboration among the three artist. In a hotly anticipated follow-up to the first ToiletMartin PaperParr magazine, this calendar presents a selection of the best images conceived by the three artist.

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7 Deaths of Maria Callas is an opera project created by Marina Abramović premiering at the Bayerische Staatsopera in Munich 2020. In collaboration with an all star creative team and through a mix of narrative opera and film, Abramović re-creates seven iconic deaths from Callas’ most important roles throughout her career, followed by an interpretive recreation of Callas’ actual death played by Abramović on stage. This book serves as a companion to the live performance and provides a behind the scenes look into the different elements that make up this conceptual and dynamic homage to the classic and iconic singer.

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A bloodstained white rabbit crouching on pieces of meat; a proud-looking chicken encircled by mirrors; a hypnotic birdwatching installation: these are just some of the comical, alarming and provocative images that will keep you company in the colorful, hyper-saturated Toiletpaper Calendar for 2024, which is themed around the concept of imaginary zoos.

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