In 2001, Truman Capote's stylish homage to Brooklyn was brought back into print, but not until 2014-- more than fifty years after they were taken--were the original photographs commissioned to illustrate the essay discovered by the late photographer's son. Also found among the negatives were previously unknown portraits of Capote; none of the photos had ever been published.Now, with the publication of Brooklyn: A Personal Memoir, with the lost photographs of David Attie, the words and images are united for the first time. With an introduction by George Plimpton and afterword by Eli Attie.
Is Chinese identity personal, national, cultural, political? Does it migrate, become malleable or transmuted? What is authentic, sacred, kitsch? Using documentary and conceptual photographic strategies, acclaimed photographer Wing Young Huie explores the meaning of Chinese-ness in his home state of Minnesota, throughout the United States, and in China.
Huie, the youngest of six children and the only one born in the United States, grew up in Duluth, Minnesota, where images of pop culture fed, formed, and confused him. At times his own parents seemed foreign and exotic. His visit to China in 2010 compounded the confusion: his American-ness made him as visible there as his Chinese-ness did in Minnesota.
To make sense of his experiences, Huie photographed and interviewed people of Chinese descent and those influenced by Chinese-ness. Their multifaceted perspectives project humor and irony, as well as cultural guilt and uncertainty. In a series of diptychs, Huie wears the clothes of Chinese men whose lives he could have lived, blurring the boundary between photographer and subject.
How does Chinese-ness collide with American-ness? And who gets to define those hyphenated abstract nouns? Part meta-memoir and part actual memoir, Chinese-ness reframes today's conversations about race and identity.
Drawing on 19th-century photo techniques, Izu's still lifes and portraits are poised between lustrous sensuality and austere grandeur
When Kenro Izu is taking photographs, he finds himself constantly challenged by a seductive voice urging him to make a "nice picture." And Izu's photographs are gorgeous--the artist, inspired by 19th-century photography methods, has been working with a large-format camera since 1983, making detailed, lustrous contact prints on hand-coated platinum palladium paper. A master technician, Izu is considered one of the greatest living platinum printers. But taking "nice pictures" is not what Izu sets out to do.
The photographer aims instead to capture something of the spirit or inner life of his chosen subject--whether it be a still life or an ancient, sacred monument. Izu describes this tension between capturing the essence and beauty of the subject as an "effort to hold myself at the very edge (before falling into the dark hole of seduction)."
Kenro Izu: Seduction presents the results of these efforts: photographs by Izu of fruits, plants and human figures, all made with a large-format film camera and contact printed in platinum from 8x10 to 14x20-inch negatives.
Japanese-born, US-based photographer Kenro Izu (born 1949) studied at Nippon University in Tokyo before deciding to settle in New York. In 1979 he began what has become a lifelong project, traveling to photograph the world's sacred places. His journeys to Angkor Wat led him to establish a free pediatric hospital in Cambodia and found Friends Without a Border, a nonprofit organization to help Asian children.
A powerful portrait of a legendary musician by a legendary photographer
Carefully curated with full access to the Jim Marshall Archive, this powerful oversize volume offers the definitive view of Johnny Cash's prison concerts at Folsom in 1968 and San Quentin in 1969. Jim Marshall was the only official photographer present, and was granted unlimited access.
Backed by June Carter, Carl Perkins and the Tennessee Three, Cash performed two shows at Folsom. The resulting album was a hit in the United States, and reached number one on the country charts and the top 15 of the national album chart. Its popularity revitalized Cash's career and led to a follow-up album, At San Quentin, the following year. San Quentin became Cash's first album to hit number one on the pop charts and both it and its predecessor remain two of the biggest-selling live albums of all time.
From rehearsing with the band, to arriving off the bus outside the imposing prison walls, to shaking hands with prisoners and performing until sweat dripped down his forehead, Marshall captured the passion, authority and intimacy of Cash's legendary penitentiary performances. His JC Flippin' the Bird at San Quentin Prison has become one of the most iconic and most-copied photographs of the 20th century, a result of Marshall asking Cash to express what he thought about the prison authorities: John, let's do a shot for the warden.
Johnny Cash was one of Jim Marshall's favorite subjects, something that is evident in his Folsom and San Quentin photographs. This body of work showcases some of the most arresting photographs of the country music star ever taken.
- Close to 200 beautiful portraits and landscape photographs documenting Hanoi's transformation from 1985 to 2015 - Visually compelling record of a city's post-war evolution over the course of three decades, well before the 'tourist boom' and a glimpse into how a city has become modernized - Intimate and candid portraits of people in their home settings, street scenes, urban architecture, and the city's surrounding countryside - One of very few Western photographers to gain access to post-war North Vietnam - Detailed captions provide a strong sense of place and context, reflecting historical references and evocative changes to the landscape; a complete study over time Documentary photographer William E. Crawford spent three decades documenting Vietnam, and in particular Hanoi, its people and the surrounding countryside. As one of the very first Western photographers to work in post-war North Vietnam, Crawford was drawn back to the country numerous times at regular intervals between 1985 and 2015 to record this fascinating country's culture, people, and society with beautiful, compelling and intimate photographs, concentrating on colonial and indigenous architecture, urban details, portraits, and landscapes. In 1986, the Vietnam's Communist leadership began to shift from a Soviet-style central planning model toward free-market economic reforms. As a result, Hanoi has been transformed over the last three decades, becoming an example of how traditional Asian and developing cities have often been torn down or allowed to crumble - only to re-emerge in a 'modernized' form. Unlike photo-journalism, which is interested in the theatre of the moment, Crawford's evocative and powerful photography chronicles life throughout Hanoi and its surroundings over the course of the last three decades. Filled with full-color photographs and informative essays on his experiences and the people he encountered, Crawford's work - showcased in this beautifully presented volume - provides a unique visual catalogue of the evolution of a city and its inhabitants, and particularly the complex historical area known as The 36 Streets.
A ragtag group of women protesting behind a police line in the rain. A face in a crowd holding a sign that says, "Hi Mom, Guess What!" at a gay rights rally. Two lovers kissing under a tree. These indelible images are among the thousands housed in the New York Public Library's archive of photographs of 1960s and '70s LGBTQ history from photojournalists Kay Tobin Lahusen and Diana Davies. Lahusen is a pioneering photojournalist who captured pivotal moments in the LGBTQ civil rights movement. Davies, in turn, is one of the most important photojournalists who documented gay, lesbian, and trans liberation, as well as civil rights, feminist, and antiwar movements.
This powerful collection--which captures the energy, humor, and humanity of the groundbreaking protests that surrounded the Stonewall Riots--celebrates the diversity of this rights movement, both in the subjects of the photos and by presenting Lahusen and Davies' distinctive work and perspectives in conversation with each other. A preface, captions, and part introductions from curator Jason Baumann provide illuminating historical context. And an introduction from Roxane Gay, best-selling author of Hunger, speaks to the continued importance of these iconic photos of resistance.
Donovan Wylie's The Tower Series, now available as a complete set in a custom cardboard box, reveals the repetitive character of military conflict across diverse geographies and histories. The first book in the series is British Watchtowers (2007), which studies the lines of sight from surveillance posts along the Irish border, and reveals a kind of virtual environment that enveloped the border region of Northern Ireland. These towers, constructed in the mid-1980s primarily in the mountainous border region of South Armagh, were landmarks in a 30-year conflict in and over Northern Ireland. The second book, Outposts (2011), charts NATO observation posts in Kandahar Province, Afghanistan. Built on natural promontories with multiple lines of sight, these outposts formed a protective visual architecture and were frequently positioned on defense locations established during earlier conflicts. North Warning System draws a close to his Tower Series. Surveying a radar station just inside the Canadian Arctic, Wylie examines the detection of invisible threats through unmanned observation posts in remote regions.
More than two hundred spectacular photographs, sensual, luminous, frenzied, true, from 1955 to the present, that catch and define the energy, intoxication, rebellion, and magic of rock and roll; the first book to explore the photographs and the photographers who captured rock's message of freedom and personal reinvention--and to examine the effect of their pictures on the musicians, the fans, and the culture itself.The only music photographers whose names are well known are those who themselves have become celebrities. But many of the images that have shaped our consciousness and desire were made by photographers whose names are unfamiliar. Here are Elvis in 1956--not yet mythic but beautiful, tender, vulnerable, sexy, photographed by Alfred Wertheimer . . . Bob Dylan and his girlfriend on a snowy Greenwich Village street, by Don Hunstein . . . John Lennon in a sleeveless New York City T-shirt, by Bob Gruen . . . Jimi Hendrix, by Gered Mankowitz, a photograph that became a poster and was hung on the walls of millions of bedrooms and college dorms . . . For the first time, the work of these talented men and women is brought into the pantheon; we see the musicians they photographed and how the images gave rock and roll its visual identity. To bring together these images, Gail Buckland, acclaimed photographic editor, curator, and scholar, looked through the archives of one hundred photographers, selecting pictures not on the basis of the usual suspects, but on the power of the images themselves, often picking an image a photographer didn't even remember he or she had taken. Buckland writes about the photographers, their influences, their relationships with their subjects, how they took the images, how they saw what they saw and captured what they captured: the spirit and essence of rock. A revelation of an art form whose iconic images changed the world as we knew it.
The vivid voices that speak from these pages are not those of historians or scholars. They are the voices of ordinary men and women who experienced--and helped to win--the most devastating war in history, in which between 50 and 60 million lives were lost.Focusing on the citizens of four towns-- Luverne, Minnesota; Sacramento, California; Waterbury, Connecticut; Mobile, Alabama;--The War follows more than forty people from 1941 to 1945. Woven largely from their memories, the compelling, unflinching narrative unfolds month by bloody month, with the outcome always in doubt. All the iconic events are here, from Pearl Harbor to the liberation of the concentration camps--but we also move among prisoners of war and Japanese American internees, defense workers and schoolchildren, and families who struggled simply to stay together while their men were shipped off to Europe, the Pacific, and North Africa. Enriched by maps and hundreds of photographs, including many never published before, this is an intimate, profoundly affecting chronicle of the war that shaped our world.
- Rare and unseen images from Terry O'Neill's unprecedented access to David Bowie's last performance as Ziggy Stardust, including candid backstage shots- New and original interviews from a host of people who witnessed the last performance, including Geoff MacCormack - one of Bowie's long-time friends and "Spider"; Suzy Ronson - Mick's wife and stylist; Ken Scott - sound engineer and producer; Ava Cherry - backing vocals, and many moreWhen Ziggy played The Marquee Club in Soho, London, in October 1973, most of those invited to the small venue did not realize that this would be the last performance David Bowie would ever give as Ziggy Stardust. Terry O'Neill, celebrated photographer, was given unprecedented access to document the event. O'Neill captured Bowie and his crew backstage as they went through costume changes, and Bowie transformed into the character he'd soon put to rest. On stage, dodging television cameras and lights, O'Neill snapped the incredible stage presence for which Bowie and his crew had become renowned. O'Neill remembers of Bowie: "He became a character on stage. As much as a person takes a role in a play for the West End or on Broadway, learning the lines, putting on the costumes - this was, I think, the way Bowie treated his stage. This night at the Marquee, I witnessed a modern-day Hamlet - and it was Ziggy Stardust." Award-winning music writer Daniel Rachel interviews key contributors of the day, including O Neill, Ava Cherry, Amanda Lear and Geoff MacCormack along with new insights and memories from fans who were in the audience who played witness to this incredible moment.