For more than half a century, Annie Leibovitz has been taking culture-defining photographs. Her portraits of politicians, performers, athletes, businesspeople, and royalty make up a gallery of our time, imprinted on our collective consciousness by both the singularity of their subjects and Leibovitz's inimitable style.
The catalogue to an installation at the LUMA Foundation in Arles, France, Annie Leibovitz: The Early Years, 1970-1983 returns to Leibovitz's origins. It begins with a moment of artistic revelation: the spontaneous shot that made Leibovitz think she could transition from painting to photography as her area of study at the San Francisco Art Institute. The meticulously and personally curated collection, including contact sheets and Polaroids, provides a vivid document both of Leibovitz's development as a young artist and of a pivotal era.
Leibovitz's reportage-like photo stories for Rolling Stone, which she began working for when she was still a student, record such heady political, cultural, and counter-cultural developments as the Vietnam War protests, the launch of Apollo 17, the presidential campaign of 1972, Richard Nixon's resignation in 1974, and the Rolling Stones on tour in 1975. Then, as now, Leibovitz won the trust of the prominent and famous, and the book's pages are animated by many familiar faces, among them Muhammad Ali, Mick Jagger, Keith Richards, Ken Kesey, Patti Smith, Bruce Springsteen, Joan Didion, and Debbie Harry, as well as John Lennon and Yoko Ono, captured in their now iconic embrace just hours before Lennon was assassinated.
Throughout the book, the portraits and reportage are linked to images of cars, driving, and even a series on California highway patrolmen. In many ways, it's a celebration of life on the road--the frenetic rhythms, the chance encounters, the meditative opportunities. And with its rich archival aspects, it is also a tribute to an earlier time and a young photographer enmeshed in a culture that was itself in transition.
"Final Edition. 16mo, 424pgs. Full bound in bright red cloth with bright white dustjacket and black paper slipcase. Book is a fascinating collection of black and white photographs; artistic interpretations of various works of literature such as The Fountainhead , Walden , Empire of the Sun , etc. Book is solid, clean and bright. Dustjacket only has faint smudges to white covers, else very fine. Slipcase is bumped on corners with several small tears and mild scuffing though still intact and protecting the book.
The work of dedicated, wolf-obsessed wildlife photographer Brandenburg is splendidly displayed in this beautifully designed and produced book. The photos, which could really stand alone, are accompanied by less interesting text in which Brandenburg describes his experiences in search of wolves and h
"1993, Oblong Small 4to, 160 pgs. 1st edition. Spine slightly cocked, else fine.
A compelling portrait of three communities penetrated by drugs and isolation: East New York, North Philadelphia, and the Red Hook housing projects in Brooklyn, New York.
With a chilling and informative afterword by Dr. Stephen W. Nicholas, who works as a pediatric AIDS physician in Harlem, "Cocaine True, Cocaine Blue" reveals how first steps toward solutions to overcome the drug trade have actually contributed to public denial and further isolation of the trapped communities. "Cocaine True, Cocaine Blue" is a history of our times, a compelling, terrifying document that will educate us and promote dialogue, a first step toward affecting change.
Aperture, 1994. Black cloth boards. Shelfworn, rubbed at edges; one corner rubbed to board. Jacket rubbed at corners, edges; front of jacket chipped at upper left corner, chipped and rubbed at back left corner.
In his series Opera, photographer David Leventi (born 1978)--whose work has been widely published in Time, The New York Times Magazine, Cond Nast Traveler and American Photography--captures the interiors of more than 40 opera houses spanning four centuries and four continents. Shot meticulously over five years, Opera presents a typology; each empty hall is seen from the place at center stage where the singers would stand. The large-format camera reveals these temples of music in their wealth of architectural detail and acoustic design; the body of work historically documents landmarks that serve as symbols of their nations' wealth and grandeur, their dedication to the promotion of the arts and to bringing communities together. With its unique concept--the opera house as a lens for cultural survey, a unifying force and tradition across continents--the collection serves as a beautiful tribute to opera.