Books are man-made artifacts designed to convey information. When they are inevitably invaded by forces of nature and decay, they become suggestive of an alternative literary universe. Noted photographer and collage artist Rosamond Purcell has been exploring this universe for the past thirty years, and in this extraordinarily beautiful collection, the first retrospective of her work, her images teach us to read in a new way. Here are two conjoined volumes transformed by a nesting mouse into a heap of disrupted plot and straw; a 19th century French economics text re-interpreted by foraging termites, and many other oddities from a fertile imagination. Bookworm's 125 color reproductions are imaginative evidence of those processes that render literal meaning irrelevant.
The huge success of Sinclair's The Secret Life of Bletchley Park - a quarter of a million copies sold to date - has been symptomatic of a similarly dramatic increase in visitors to Bletchley Park itself, the Victorian mansion in Buckinghamshire now open as an engrossing museum of wartime codebreaking. Aurum is publishing the first comprehensive illustrated history of this remarkable place, from its prewar heyday as a country estate under the Liberal MP Sir Herbert Leon, through its wartime requisition with the addition of the famous huts within the grounds, from the place where modern computing was invented and the German Enigma code was cracked, to its post-war dereliction and then rescue towards the end of the twentieth century as a museum whose visitor numbers have more than doubled in the last five years. Featuring over 200 photographs, some previously unseen, and text by Sinclair McKay, this will be an essential purchase for everyone interested in the place where codebreaking helped to win the war.
Drawing on the context in which the protection of the white female body is linked with guarding the U.S. southern body politic, Harriet Pollack traces a pattern in Eudora Welty's fiction in which a sheltered middle-class daughter is disturbed or delighted by an other-class woman who takes pleasure in "making a spectacle" of her corporeal self.Welty herself seeks a parallel self-exposure both through these stories that pair protected girls with at-risk flashers and through her photography's innovating representations of the black female body. Welty's escape from sheltering continues when, after finding herself in love with a man unwilling to acknowledge his homosexuality and so sharing the silence of his closet, she varies the plot of the other woman in a series of midcareer fictions. Additionally, Pollack addresses several critical controversies spawned by Welty's handling of other women's bodies. These concern the comic woman writer's relationship to issues of class and feminism, her puzzled-over and sometimes joyful rape plots, and her handling of race in fictions written when her region was immersed in its Jim Crow regulation of the black body. Two special features of the book are its significant reading of sixty-two visual images and its extensive work with Welty's unpublished manuscripts, in particular those begun during the turmoil of the civil rights struggle in the 1960s and continuing through the 1980s.
Berenice Abbott is to American photography as Georgia O'Keeffe is to painting or Willa Cather to letters. She was a photographer of astounding innovation and artistry, a pioneer in both her personal and professional life. Abbott's sixty-year career established her not only as a master of American photography, but also as a teacher, writer, archivist, and inventor. Famously reticent in public, Abbott's fascinating life has long remained a mystery--until now.
In Berenice Abbott: A Life in Photography, author, archivist, and curator Julia Van Haaften brings this iconic public figure to life alongside outlandish, familiar characters from artist Man Ray to cybernetics founder Norbert Wiener. A teenage rebel from Ohio, Abbott escaped first to Greenwich Village and then to Paris--photographing, in Sylvia Beach's words, "everyone who was anyone." As the Roaring Twenties ended, Abbott returned to New York, where she soon fell in love with art critic Elizabeth McCausland, with whom she would spend thirty years.
In the 1930s, Abbott began her best-known work, Changing New York, in which she fearlessly documented the city's metamorphosis. When warned by an older male supervisor that "nice girls" avoid the Bowery--then Manhattan's skid row--Abbott shot back, "I'm not a nice girl. I'm a photographer...I go anywhere." This bold, feminist attitude would characterize all Abbott's accomplishments, including imaging techniques she invented in her influential, space race-era science photography and her tenure as The New School's first photography teacher.
With more than ninety stunning photos, this sweeping, cinematic biography secures Berenice Abbott's place in the histories of photography and modern art, while framing her incredible accomplishments as a female artist and entrepreneur.
This book is a selection of contact sheets and photographs by international and well-known photographers through which one can write an "original" history of photography. Each selected photo tells us the point of view of his/her author, whereas the contact sheets offer us the opportunity to better understand how the photographer has come to choose the right shot. Each selected photo is accompanied by a text written by the photographer, in which he/she tells to the reader when and why the picture was realized. This first book in the series features photographs by Michael Ackerman, Morten Andersen, Roberta Bayley, Stefano De Luigi, Jason Eskenazi, Joan Fontcuberta, Stanley Greene, Lauren Greenfield, Graciela Iturbide, Nadav Kander, Steve McCurry, Paolo Pellegrin, Anders Petersen, Alessandra Sanguinetti, Alex Webb, and many others.
Giammaria De Gasperis was born in Sora in 1983. He is co-founder and editorial director of the photographic magazineRearviewmirror. He also works as exhibition curator and photo consultant for both Italian and foreign photographers. He is the curator ofFive Horizons, the First International Official Pearl Jam Exhibition (Auditorium Parco della Musica, Rome, 2013; DanceHaus, Milan, 2014). He edited the two volumes ofContattiProvini d'autore, published by Postcart Edizioni and André Frère éditions, that are distributed worldwide and translated in Italian, English, and French. He lives and works in Rome.
This life of George Eastman is the first biography since 1930 of the man who transformed the world of photography. As a 23-year-old bank clerk, Eastman bought his first camera and began simplifying the cumbersome and messy wet-plate process. With only two years' experience, he patented a dry-plate coating machine and began selling photographic plates. Soon, the business was doing so well that he quit his job at the bank and started his own company.
Eastman's success was based in part on his own inventions, but even more on his ability to raise capital, recruit technically skilled employees, sell his own products, and outmaneuver his competitors. In this revealing and informative new biography, Brayer shows us how such key innovations as roll film and the light, hand-held camera helped the Eastman Kodak Company dominate the world market.
More importantly, Brayer draws a vivid portrait of the man behind the money. Eastman worked hard at keeping out of the limelight and even insisted that his donations be kept anonymous, prompting the Boston Globe to call him "America's most modest and least- known millionaire." His aggressive business personality was a sharp contrast to his personal life: Eastman once joked that it was his goal to take two six-month vacations in a year. He would regularly forsake the office to bicycle around Europe or ride a stagecoach through the snowy trails of Yellowstone Park. He was an art lover, who once bartered 60 shares of Kodak stock in the 1890s for a painting he felt he must have, and a classical music enthusiast, who built a school for the training of virtuosos.
Despite his retirement in 1925, Eastman showed little sign of slowing down. Making moneyhad been interesting, but putting money to work became more so. In the 1920s he designed a special camera for use in orthodontia and established elaborate dental clinics for needy children in Rochester, London, Paris, Brussels, Stockholm, and Rome. He oversaw the building of the Eastman Theatre and the Eastman School of Music. His contributions built a new campus for the Massachusetts Institute of Technology and a new medical school for the University of Rochester. Finally, he became the largest contributor to the education of African Americans during the 1920s and the Tuskeegee Institute's most important benefactor.
A comprehensive look at photography's most dynamic era, this book surveys the rich variety of innovation that characterised the 1930s, exploring the aesthetic and cultural achievements of leading photographers and mapping the impact on the public imagination.
The Humbert Collection, containing approximately 140 vintage photographs collected between 1863/64 in Japan, is an invaluable account of the Edo-to-Meiji period transition, which shaped the West's image of this insular nationContains some of the earliest photographs by Felice Beato and Shimooka Renj Infrared photographs - a new form of research undertaken by Tokyo University - allow us to read hitherto hidden metadata on the back of the printsPhotographs taken in Japan between the late Edo period and early Meiji periods found their way overseas, and played a major role in forming Westerners' image of Japan. Among these collections, the pictures gathered by the Swiss diplomat Aim Humbert (1819-1900) in the 1860s were crucial in building lasting representations of the island nation: many of these, mainly collected in 1863/64 during a sojourn in Yokohama and Edo, were used as sources for the well-known and largely distributed engravings of his famous book Le Japon illustr , published in Paris in 1870. Belonging to the collection of the MEN, these beautiful and well-preserved photographs are published here for the first time. Presented by Japanese and Swiss scholars before the narrative backdrop of their acquisition and application by foreigners, they offer a striking view of a lost world.
This volume features about fifty photo historians from fifteen countries offering substantial and previously unpublished essays in honor of Dr. Heinz K. Henisch, the founding editor of the international quarterly History of Photography. The recognized authorities in the field, including Estelle Jussim, Ulrich Keller, Naomi Rosenblum, Mart Haworth-Booth, and others, are represented here and cover a wide range of topics from the earliest daguerreotypes to contemporary photography, with essays on nineteenth century practitioners, photojournalism, and twentieth-century aesthetics.
This meaty collection of fifty-six essays is one no serious library, scholar, or student of photography should be without.