In this first book truly to celebrate the city's vertical appeal, Horst Hamann offers a completely new perspective on the American metropolis. The result is a truly original and astonishing array of images that capture New York's towering presence in a way no other photographer ever has.
Already the recipient of three prestigious photography awards, New York Vertical is a book as spectacular, as impressive, and as unusual as the subject it gloriously depicts.
Extracts from a File represents a Berlin which perhaps never really existed. At once cinematic and atmospheric, these photographs also extend Doherty's concerns with surveillance and documentation and find echoes in the artist's earlier work about the conflict in his native Northern Ireland.
On September 11, 2001, the face of Wall Street was tragically scarred, but its spirit remains undaunted. Behind the noble buildings and long-established firms are the men and women who constitute the financial world. These are the souls who have resolved to maintain the greatest financial center in the world. New York's financial district is one of the city's oldest and most elegant architectural neighborhoods, as well as home to some of the richest and most powerful organizations in the world. With over 300 full-color photographs, accompanied by text and captions, Wall Street: Financial Capital is the most comprehensive portrait ever published of this famous district. Robert Gambee's stunning photographs take us on a complete tour of the city's centers of finance, including the Wall Street Financial Center, TriBeCa, and midtown Manhattan, revealing Wall Street past and present. Included are the stories of every major bank, brokerage house, law firm, and securities exchange, interspersed with anecdotes about Wall Street's buildings, byways, seaport, and residences. Gambee's captions are a mine of fascinating history: here was John D. Rockefeller's old Standard Oil company office, there the Old Lawyer's Club; and here is Pearl Street, once the outer limit of the city, whose name is derived from the oyster shells with which it once was paved. Anyone with an interest in finance, architecture, or the history of New York will enjoy this magnificent book.
For the past thirteen years, young American artist Chris Verene has carefully documented the strange and yet oddly familiar world of his family and friends. Verene's lush color images reveal freakishly beautiful stories of simple daily joys and troubling family secrets. Curators, critics, and museums from Atlanta to New York and Europe are exhibiting and discussing his moving portrayal of family, love, youth, and aging.
The geography of Chris Verene's color photography is primarily social, though the landscape is always a presence. Whether he is following his relatives around the dilapidated environs of Galesburg, Illinois, or locked in a suburban bedroom with five members of his "Camera Club" photographing a half-dressed woman draped over a bed, Chris Verene innerves us with a vision of daily life at once bizarre and banal. His high-key colors and composition occupy a terrain somewhere between William Eggleston and Nan Goldin. This is the artist's first book.
Traveling thousands of miles across vast deserts, Margaret Courtney-Clarke has photographed the remote and seldom-seen landscapes of Africa's magnificent and delicate environment, where nature wages an ongoing struggle to survive. Places in the Sand portrays unfolding dunes blown constantly by the wind, dreamlike roads that lead nowhere, the fragile cracked ground stretching endlessly toward the horizon.
Born and raised on a ranch at the edge of the Namib Desert, Courtney-Clarke's photographic work reflects an extraordinary blend of sophisticated European and ancient African cultures as well as an innate love for and instinctive understanding of the eternal beauty of the land.
In Places in the Sand, she turns a nostalgic and knowing eye to the landscape, creating evocative slivers of panoramas in which earth touches sky, poetic images of abandoned shacks engulfed by sand and time, and jewel-like shots framing textures, majestic colors, and forms.
James Rudnick moved to Brooklyn, New York, in 1977 to attend graduate school and almost immediately began to photograph two nearby landmarks: the Statue of Liberty and the Brooklyn Bridge. Both structures were approaching their centennials, and Rudnick was soon drawn into the resulting restorations as a documentary photographer. He followed this work, in the 1980s and 1990s, with similar projects at the New York Public Library and Grand Central Terminal. These four monuments are emblems of America's transformation at the end of the nineteenth century and, more particularly, of New York City.
Rudnick's photographs -- both color and black-and-white -- are a unique exploration of the great architecture of New York, from "before" shots showing sadly ignored structures to fascinating in-progress images of craftspeople and techniques to spectacular views of the gleaming, post-restoration monuments. Accompanying the photographs in this beautifully designed volume is text by Thomas Mellins that discusses the history of New York City, notably the period from 1865 to 1915 in which the four landmarks were built, as well as the development of the city's historic preservation movement, both popular and institutional. Rudnick himself describes the details of each restoration in informative captions; his evocative afterword beautifully recounts his own engagement with the spectacular architectural legacy of New York.