People of African and Caribbean descent have inhabited the British Isles for centuries. Paul Gilroy, renowned for his work exploring the social and cultural dimensions of black Britishness, has assembled a living history of black people in the British Isles. Spanning two hundred years, this collection features images of black Britons at work, at war, and at play.
Paul Gilroy was a professor of sociology and African American studies at Yale University until 2005, when he left to become a professor of social theory at The London School of Economics and Political Science.
In Greene County, Alabama, a deserted farmhouse sits in the middle of a field so overgrown with weeds that the house is completely engulfed; snaking vines and stalks cover the doors and windows and invade the chimney, choking off any possibility of human habitation. Hidden by a curtain of greenery, the house stands as a silent testament to the loss that black American farmers and their families have endured during the twentieth century. What keeps these families from their dreams and way of life, however, is not the encroachment of natural forces but the demise of a culture that supports independent farmers. In 1920, black Americans made up 14 percent of all farmers in the nation, and they owned and worked 15 million acres of land. Today, battling the onslaught of globalization, changing technology, an aging workforce, racist lending policies, and even the U.S. Department of Agriculture, black farmers account for less than 1 percent of the nation's farmers and cultivate fewer than 3 million acres of land. Experts predict that within the next ten years, black-owned family farms will all but cease to exist. Inside these statistics is a staggering story of human loss that led photographer John Francis Ficara on a four-year journey across America to document and preserve the struggles of black farmers. The result of this journey is Black Farmers in America, a collection of 110 photographs skillfully reproduced in duotone that captures poignant images of hardship, survival, and a people's bond to the soil at the end of the twentieth century. From depictions of a hand-painted "For Sale" billboard in a farmer's field, to a farmer preparing for the early morning chore of milking, to a lone figure pausing to survey his land, these photos preserve a heritage and way of life that may soon disappear as these last-generation farmers harvest their final crops. In his essay, Juan Williams provides a historical context for the photographs. From the myth of "forty acres and a mule" to the multi-million-dollar USDA settlement in 1999, Williams explores America's ongoing struggle with racism and its economic consequences for black farmers. The hardships and joys of daily life on the farm echo deeply in these images. They convey a dignity of work and culture, and they document the experiences of black farmers for future generations.
In a world of selfies and body shaming, Photoshopping and gender fluidity, body image has never been more at the forefront of popular cultural dialogue. Body is a definitive, democratic statement at a time when our fixation with images of the human form is greater than ever before.
Curator and art historian Nathalie Herschdorfer brings together over three hundred and fifty images created predominantly in the twenty-first century that explore our relationship with the body. This watershed publication presents work from major names in art photography, including Bettina Rheims, Lauren Greenfield, Cindy Sherman, Viviane Sassen, and Sally Mann, alongside others whose fashion work has shaped our view of the human form, such as Solve Sundsbo and Daniel Sannwald. Interwoven with these major works are images that explore the numerous other ways in which we have represented the body, and the ways in which imaging of the body has been used, shared, and changed over the last quarter-century.
Capturing the complex and often paradoxical relationship we have with our bodies--from fantasy to reality and curiosity to obsession--Body is a timely homage to, and introspection of, the human form as it sits in our current culture.
A meditation on the nature of photography itself, The Book of Shadows is a collection of 88 anonymous photographs spanning the twentieth century, all of which share a common "mistake"--the photographer's shadow falling into the image. Selected by gallerist Jeffrey Fraenkel from his personal collection of more than 2000, these images represent, in Fraenkel's words, "the most tenacious, peculiar, and downright sublime of the crop." The shadows frequently convey striking aspects of their maker's personalities, and tell us more than might be expected about the person behind the camera. But as Fraenkel writes in the book's introduction, "the shadow's most striking feature is that it tips us off and confirms the photographer was there, a reality not generally evident in photographs. We take for granted photographs were made by someone, a person with a reason for making the picture, but that observer--who by extension is also us--is rarely acknowledged so overtly in the pictures themselves." This book itself is a work of art. Bound between suede covers, and exquisitely printed by the master craftsmen at Trifolio in Verona, Italy, The Book of Shadows is a reminder, even in a digital age, that the power and mystery of photographic depiction still evades any attempt to describe it.
Car Fetish presents the automobile as a source of inspiration for the art of the last hundred years. Starting with the Futurists, who saw in its beastly roar and thrilling, dangerous speed a new ideal of beauty, the book provides an overview of the most beautiful and inspiring artworks we owe to this tin muse. Among them are examples of Pop Art and creations by the Nouveaux R alistes, with Jean Tinguely as biggest Formula 1 fan. The extensive catalog places the automobile in the context of cultural history as a key cultural artifact of the twentieth century.
Among the included artists are Kenneth Anger, Giacomo Balla, Edward Burtynsky, Andrew Bush, C sar, John Chamberlain, Liz Cohen, Stephen Dean, Jan Dibbets, Don Eddy, Hans-Peter Feldmann, Sylvie Fleury, Franz Gertsch, Allan Kaprow, Peter Keetman, Edward Kienholz, Konrad Klapheck, Annika Larsson, Jacques-Henri Lartigue, Zilla Leutenegger, Arnold Odermatt, Ahmet g t, Julian Opie, Mel Ramos, Robert Rauschenberg, Pipilotti Rist, Peter Roehr, Mimmo Rotella, Bruno Rousseaud, Luigi Russolo, Franck Scurti, Roman Signer, Stefan Sous, Peter St mpfli, Anton Stankowski, Superflex, Andy Warhol, Patrick Weidmann, Virgil Widrich, and Dale Yudelman.
Some time ago, while at a New York flea market, inveterate collectors Michael Hurst and Robert Swope discovered a large body of snapshots: album after aged album of well-preserved images, taken roughly between the mid-50s and mid-60s, depicting a group of cross-dressers united around a place called Casa Susanna, a rather large and charmingly banal Victorian-style house in small-town New Jersey. The inhabitants, visitors, guests, and hosts used it as a weekend headquarters for a regular girl's life. Someone-probably Susanna or the matriarch-nailed a wonder board on a tree proclaiming it Casa Susanna, and thus a Queendom was born.Through these wonderfully intimate shots-perhaps never intended to see the light of day outside the sanctum of the house-Susanna and her gorgeous friends styled era-specific fashion shows and dress-up Christmas and tea parties. As gloriously primped as these documentary snaps are, it is in the more private and intimate life at Casa Susanna, where the girls sweep the front porch, cook, knit, play Scrabble, relax at the nearby lake and, of course, dress for the occasion, that the stunning insight to a very private club becomes nothing less than brilliant and awe inspiring in its pre-glam, pre-drag-pose ordinariness and nascent preening and posturing in new identities. It is not glamour for the stage but for each other, like other women who dress up to spend time with friends, flaunting their own sense of style. There is an evident pleasure of being here, at Casa Susanna, that is a liberation, a simplification of the conflicts inherent in a double life.
This book is an expansive presentation of international contemporary photography, video, and new media art addressing the challenges presented by global change. It shows the works of 34 international artists, focusing on the ways in which these media reflect on our relationship, as individuals and as a society, to the natural environment around us. An important aspect of this presentation is how individual artists are using their work to address the impact of human behavior on the natural environment. The purpose of the book is to provoke, through visual art, new ways of thinking about how we see our role within the natural environment and our connection(s) to the rest of the planet--and how this affects our future. The book looks at ways in which artists and scientists are re-visioning our relationship with the Earth, its oceans and atmosphere. The artists and artworks confront a broad range of issues that are challenges to the future of the Earth. These include climate change, water, energy, biodiversity, and food production, population, natural resources, waste, and migration. The Authors The two lead essays set the scientific, ecological and biological context for the book. Geof Rayner, a scholar and public health policy expert in the UK, looks at the evolution and impact of fossil fuel development and use. He will discuss the history and meaning of the Anthropocene and the need, even in the context of human health, to redefine our relationship to the ecosystems of the earth and the species with which we share the Earth. This includes an understanding of limits in relation to co-maintaining human existence and that of the planet. He discusses the rarity of the dynamic processes that came together to enable life as we know it, and the dangers of continuing to treat the resources of the planet as limitless. He argues for a view of the planet as ever-changing, and inextricably linked to the sustainability of human existence. Thomas E. Lovejoy directed the World Wildlife Fund-US program from 1973 to 1987 and was responsible for its scientific, Western Hemisphere, and tropical forest orientation. A tropical biologist and conservation biologist, he has worked in the Amazon of Brazil since 1965. Currently he is a Senior Fellow at the United Nations Foundation and University Professor in the Environmental Science and Policy department at George Mason University. In his essay, he shows the importance of biodiversity, one of the least understood mechanisms relating to the self maintenance and ever changing life systems of the planet. What does biodiversity mean to the health, enjoyment, economics and sustainability of the planet? What does it mean to human society? Why should we be concerned? How does the eventual loss of endangered species affect human society and the planet? And how does the issue of biodiversity fit into the overall dynamic and impact of climate change? Wendy Watriss, pioneering FotoFest curator, writes about the historical antecedents and importance of a more sensitive and informed vision about our relationship to Nature. She looks at the recurring dialectic between unlimited economic expansionism and a more diversified balancing between societal needs, natural resources and ecosystem services. FotoFest executive director Steven Evans provides the introduction for the book and the context for presenting these subjects in the framework of art. Each of the artists - an unorthodox combination of editorial photographers and fine artists - has provided a statement alongside the images to communicate his/her relationship as a human being and a professional story-teller to the environment. The Artists: Amy Balkin (USA) Mandy Barker (UK) Daniel Beltr (Spain) Atul Bhalla (India) Edward Burtynsky (Canada) Barbara Ciurej and Lindsay Lochman (USA) Pedro David (Brazil) Luis Delgado-Qualtrough (Mexico/USA) Susan Derges (UK) Nigel Dickinson (UK) Dornith Doherty (USA) David Doubilet (USA) Peter Fend (USA) Roberto Fern ndez Ib ez (Uruguay) Karen Glaser (USA) Gina Glover (UK) Ingo G nther (Germany/USA) Niklas Goldbach (Germany) Lucy Helton (UK/USA) Chris Jordan (USA) Isaac Julien (UK) David Liittschwager (USA) Pablo Lopez Luz (Mexico) Evelyn Messinger and Kim Spencer (USA) Vik Muniz (Brazil) Robert Harding Pittman (Germany/USA) Meridel Rubenstein (USA) Joel Sartore (USA) Toby Smith (UK) Jamey Stillings (USA) Martin Stupich (USA) Brad Temkin (USA) The book Changing Circumstances is a collaboration between FotoFest International and Schilt Publishing.