Dorothea Lange's depression-era photographs became mythic symbols in their time and are exhibited worldwide as standards of classic photography. In this first biography of Lange, Milton Meltzer documents her development as an artist and provides a moving portrayal of a life burdened with illness and the conflicting demands of family and profession.
Recognized as the patriarch of the minimalist movement-Brian Eno once called him "the daddy of us all"--La Monte Young remains an enigma within the music world, one of the most important and yet most elusive composers of the late twentieth century. Early in his career Young almost completely eschewed the conventional musical institutions of publishers, record labels, and venues, in order to create compositions completely unfettered by commercial concerns. Yet at the same time he exercised profound influence on such varied figures as Terry Riley, Cornelius Cardew, Andy Warhol, Yoko Ono, David Lang, The Velvet Underground, and entire branches of electronica and drone music. For half a century, he and his partner and collaborator, Marian Zazeela, have worked in near-seclusion in their Tribeca loft, creating works that explore the furthest extremes of conceptual audacity, technical sophistication, acoustical complexity, and overt spirituality.Draw A Straight Line and Follow It: The Music and Mysticism of La Monte Young stands as the first narrative study to examine Young's life and work in detail. The book is a culmination of a decade of research, during which author Jeremy Grimshaw gained rare access to the composer and his archives. Loosely structured upon the chronology of the composer's career, the book takes a multi-disciplinary approach that combines biography, musicology, ethnomusicology, and music analysis, and illuminates such seemingly disparate aspects of Young's work as integral serialism and indeterminacy, Mormon esoterica and Vedic mysticism, and psychedelia and psychoacoustics. Draw A Straight Line and Follow It is a long-awaited, in-depth look at one of America's most fascinating musical figures.
The untold story of a New York City legend's education in creativity and style For Bill Cunningham, New York City was the land of freedom, glamour, and, above all, style. Growing up in a lace-curtain Irish suburb of Boston, secretly trying on his sister's dresses and spending his evenings after school in the city's chicest boutiques, Bill dreamed of a life dedicated to fashion. But his desires were a source of shame for his family, and after dropping out of Harvard, he had to fight them tooth-and-nail to pursue his love. When he arrived in New York, he reveled in people-watching. He spent his nights at opera openings and gate-crashing extravagant balls, where he would take note of the styles, new and old, watching how the gowns moved, how the jewels hung, how the hair laid on each head. This was his education, and the birth of the democratic and exuberant taste that he came to be famous for as a photographer for The New York Times. After two style mavens took Bill under their wing, his creativity thrived and he made a name for himself as a designer. Taking on the alias William J.--because designing under his family's name would have been a disgrace to his parents--Bill became one of the era's most outlandish and celebrated hat designers, catering to movie stars, heiresses, and artists alike. Bill's mission was to bring happiness to the world by making women an inspiration to themselves and everyone who saw them. These were halcyon days when fashion was all he ate and drank. When he was broke and hungry he'd stroll past the store windows on Fifth Avenue and feed himself on beautiful things. Fashion Climbing is the story of a young man striving to be the person he was born to be: a true original. But although he was one of the city's most recognized and treasured figures, Bill was also one of its most guarded. Written with his infectious joy and one-of-a-kind voice, this memoir was polished, neatly typewritten, and safely stored away in his lifetime. He held off on sharing it--and himself--until his passing. Between these covers, is an education in style, an effervescent tale of a bohemian world as it once was, and a final gift to the readers of one of New York's great characters.
The first comprehensive biography of Weegee--photographer, "psychic," ultimate New Yorker--from Christopher Bonanos, author of Instant: The Story of Polaroid.Arthur Fellig's ability to arrive at a crime scene just as the cops did was so uncanny that he renamed himself "Weegee," claiming that he functioned as a human Ouija board. Weegee documented better than any other photographer the crime, grit, and complex humanity of midcentury New York City. In Flash, we get a portrait not only of the man (both flawed and deeply talented, with generous appetites for publicity, women, and hot pastrami) but also of the fascinating time and place that he occupied. From self-taught immigrant kid to newshound to art-world darling to latter-day caricature--moving from the dangerous streets of New York City to the celebrity culture of Los Angeles and then to Europe for a quixotic late phase of experimental photography and filmmaking--Weegee lived a life just as worthy of documentation as the scenes he captured. With Flash, we have an unprecedented and ultimately moving view of the man now regarded as an innovator and a pioneer, an artist as well as a newsman, whose photographs are among most powerful images of urban existence ever made.
Soon to be a major motion picture, this action-filled adventure of four fascinating people takes place during one of the most thrilling chapters of American history: the late 19th century transition from the Wild West to the Age of Technology. There's the narrator of our story, Eadweard Muybridge, the eccentric and mysterious photographer who conquers staggering obstacles to produce the first motion pictures; his young wife, Flora, one of the greatest beauties of San Francisco - and she knows it; Major Harry Larkyns, the English con artist who steals her heart and pays the ultimate price; and Governor Leland Stanford, the richest and most powerful businessman in the nation, who is both Muybridge's greatest supporter and the engine of his most devastating downfall. Based on a true story People remember Muybridge for his high-speed photographs of a trotting horse, which settled the long-running dispute over whether all four hooves ever leave the ground at the same time. Few remember that those photos were just a beginning for Muybridge. Through trials and tragedy he developed the technology to take an extended series of photos which became the first movies. Today he is an icon of "steampunk," the burgeoning 21st century artistic and literary movement that pays homage to Victorian-era technology. Muybridge had a stormy relationship with his patron, rail tycoon Stanford. Their collaboration ended in bitter betryal and a series of disastrous lawsuits. At the peak of fame, Muybridge married Flora, a stunning beauty half his age, who betrayed him in an affair with a dashing young con artist, Major Larkyns. Muybridge murdered Larkyns in cold blood, and a spectacular "trial of the century" ended in his astonishing acquittal. Freezing Time tells this story in the form of an historical novel. While maintaining accuracy and truth about Muybridge's life and work, Freezing Time sets him into a dramatic context that is compelling to readers who may know little about him or his photography. The exciting adventure of his life and times as depicted in Freezing Time is like Indiana Jones meets The Time Machine mixed with elements of Jack The Ripper, Sherlock Holmes, and True Grit.
An incisive biography of the prolific photo-essayist W. Eugene SmithFamously unabashed, W. Eugene Smith was photography's most celebrated humanist. As a photo essayist at Life magazine in the 1940s and '50s, he established himself as an intimate chronicler of human culture. His photographs of war and disaster, villages and metropolises, doctors and midwives, revolutionized the role of images in journalism, transforming photography for decades to come. When Smith died in 1978, he left behind eighteen dollars in the bank and forty-four thousand pounds of archives. He was only fifty-nine, but he was flat worn-out. His death certificate read "stroke," but, as was said of the immortal jazzman Charlie Parker, Smith died of "everything," from drug and alcohol benders to weeklong work sessions with no sleep. Lured by the intoxicating trail of people that emerged from Smith's stupefying archive, Sam Stephenson began a quest to trace his footsteps. In Gene Smith's Sink, Stephenson merges traditional biography with rhythmic digressions to revive Smith's life and legacy. Traveling across twenty-nine states, Japan, and the Pacific, Stephenson profiles a lively cast of characters, including the playwright Tennessee Williams, to whom Smith likened himself; the avant-garde filmmaker Stan Brakhage, with whom he once shared a Swiss chalet; the artist Mary Frank, who was married to his friend Robert Frank; the jazz pianists Thelonious Monk and Sonny Clark, whose music was taped by Smith in his loft; and a series of obscure caregivers who helped keep Smith on his feet. The distillation of twenty years of research, Gene Smith's Sink is an unprecedented look into the photographer's potent legacy and the subjects around him.
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.
Laura E. Smith unravels the compelling life story of Kiowa photographer Horace Poolaw (1906-84), one of the first professional Native American photographers. Born on the Kiowa reservation in Anadarko, Oklahoma, Poolaw bought his first camera at the age of fifteen and began taking photos of family, friends, and noted leaders in the Kiowa community, also capturing successive years of powwows and pageants at various fairs, expositions, and other events. Though Poolaw earned some income as a professional photographer, he farmed, raised livestock, and took other jobs to help fund his passion for documenting his community.Smith examines the cultural and artistic significance of Poolaw's life in professional photography from 1925 to 1945 in light of European and modernist discourses on photography, portraiture, the function of art, Native American identity, and American Indian religious and political activism. Rather than through the lens of Native peoples' inevitable extinction or within a discourse of artistic modernism, Smith evaluates Poolaw's photography within art history and Native American history, simultaneously questioning the category of "fine artist" in relation to the creative lives of Native peoples. A tour de force of art and cultural history, Horace Poolaw, Photographer of American Indian Modernity illuminates the life of one of Native America's most gifted, organic artists and documentarians and challenges readers to reevaluate the seamlessness between the creative arts and everyday life through its depiction of one man's lifelong dedication to art and community.
In How Photographs Are Sold, author and fine art photographer Alain Briot has compiled stories and examples of how several successful photographers market and sell their work. The book features information from photographers who earn a living from their artwork, as well as from others who sell their artwork to further their passion rather than as their main source of income. It also includes examples from Alain's personal experience selling his fine art photographs.
The featured photographers come from a variety of backgrounds and use a broad range of techniques for selling their artwork. They share information about their personal styles, what has worked for them and what hasn't, where they have sold their work, and more. Also included are images of each photographer's selling environment and examples of the marketing materials they use.
- A description of the selling venues used by each artist: wholesale, retail, galleries, art shows, websites, etc.
- Various photographic genres: landscape, wildlife, flowers, portraiture, etc.
- A variety of business challenges and solutions
- A description of the business approach used by each artist
- A biography of each artist
- Skill enhancement exercises to help the reader develop their skills
This book differs from Alain's previous marketing book, Marketing Fine Art Photography, in that this is not a manual but a collection of stories and examples. While Alain's first marketing book tells you how to sell your work, this second book shows you how to sell your work.