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.
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.
Trek is David Carsons first graphic design book in five years. It is the most comprehensive collection of his work since The End of Print published in the mid-90s and documents his travels to address young people in lectures and workshops around the world. His graphic talent evolves permanently and in his other vocation, teaching, his skill is legend. Carson has inspired an entire generation of design and art school students across the globe.
Sometimes seeing is more difficult for the student of art than believing. Taylor, in a book that has sold more than 300,000 copies since its original publication in 1957, has helped two generations of art students learn to look.This handy guide to the visual arts is designed to provide a comprehensive view of art, moving from the analytic study of specific works to a consideration of broad principles and technical matters. Forty-four carefully selected illustrations afford an excellent sampling of the wide range of experience awaiting the explorer. The second edition of Learning to Look includes a new chapter on twentieth-century art. Taylor's thoughtful discussion of pure forms and our responses to them gives the reader a few useful starting points for looking at art that does not reproduce nature and for understanding the distance between contemporary figurative art and reality.
Many photographers are turning to the earliest methods of producing photographs as a protest against the technologically assisted equipment and techniques exemplified in digital photography. This volume reproduces their work and ideas, and includes an essay by Chuck Close.
"On the Nature of Things" commemorates a photojournalistic genius whose passion for his subject has rarely been equalled and whose pioneering techniques continue to define contemporary science/technological photography. Accompanied by commentary from Nobel prize-winning scientists, Goro's extraordinary images create a work of expertise and enchantment.
For almost fifty years, Fritz Goro gave "Life" magazine readers of all ages an eyewitness view of the greatest scientific and technological breakthroughs of our time. The splitting of the atom; the deciphering of DNA; the invention of the hologram; the coming of fiber optics, lasers, computers, microsurgery--these are only a handful of the momentous discoveries he captured in his consummately innovative photography, providing an intimate look at the way new phenomena work and revealing as never before the infinite shapes and dazzling lights and colors that comprise the universe.
It was Goro who went on-site with the Manhattan Project, actually standing on ground zero while it was still radioactive from the A-bomb test; who first photographed blood circulation in living animals; who documented a minute quality of plutonium as it was being produced, thus marking a milestone of the nuclear age; who captured a fetal image so hauntingly universal, it became the inspiration for the Starchild in Stanley Kubrick's film "2001." Perhaps most remarkable of all, he photographed the first model of explanation of the atom. Photographing subjects that were sometimes abstract and often evasive, Goro became a master of technical improvisation; in order to translate atomic physics visually, he used four lenses of different focal lengths, rotatedthe film position fifteen times, and made a total of thirty-three different exposures one one sheet of eight-by-ten color film.
Nearly a decade after his death, Aperture accords Fritz Goro the tribute he so richly deserves with the first comprehensive collection of his landmark work. More than a handsome book of 159 photographs, "On the Nature of Things" draws the reader into the environment of each depicted breakthrough with an immediacy intensified by the comments of eminent scientists--all international leaders in their respective fields, many of whom worked closely with Goro while he was visualizing their great achievements. Among them are Dr. Lennart Nilsson of Stockholm, one of the greatest of all medical photographers; Professor Ilya Prigogine, Nobel laureate in rotating chemical reactions; Professor Glenn Seaborg, Nobel prize-winner in medicine, neurology professor David Hubel; and Oliver Sacks, neurologist and celebrated author of "Awakenings" and "The Man Who Mistook His Wife for a Hat." Anthropologist Stephen Jay Gould, one of the most widely read scientific writers of our time, supplies an introduction; while Goro's grandsons, Thomas, Peter, and Stefan Goreau, all respected scientists, contribute to a biographical essay.
Beautiful, startling, enlightening, "On the Nature of Things" shines with a rare fascination.
One of the more widely discussed and inventive exponents of contemporary British art, Sam Taylor-Wood has spent a decade creating film and photographic works that extend the boundaries of their media. She worked closely with Bruce Mau Design on this project to give unprecedented insight into the usually private or suppressed source images behind her work.Originally conceived for an exhibition in London, Contact's wall of over 2000 test prints, 360 degree panoramas and contact images was reassembled in Mau's Toronto studio. Photographed in detail from every angle to replicate the experience of visiting an installation they have created a provocative spatial hybrid. Contact also gives a revealing exposure of the vulnerabilities of Taylor -- Wood's subjects -- including Kate Moss, Courtney Love and Damien Hirst -- creating a lively archive of the creative icons of her time, like Warhol's Polaroid portraits and screen tests.
Jeremiah Gurney was a leading portrait photographer working in New York City during the second half of the nineteenth century. Celebrated in his time, his work has since been overshadowed by the reputation of his competitor Mathew Brady. Now, for the first time since his death a hundred years ago, Gurney's accomplishments are being brought to light. Produced in conjunction with an exhibit at the Minneapolis Institute of Arts, this volume covers Gurney's entire fifty-year photographic career.
Gurney was declared the country's leading portraitist in 1853 when he won the Anthony Pitcher, the first and most important American photography prize. He made pictures in every major nineteenth-century photographic medium and format beginning with the daguerreotype, capturing the images of not only ordinary men and women but also famous American and English figures such as the Prince of Wales, Charles Dickens, and Mark Twain. Chaining the Sun is a fascinating look at the role photography played in the world of nineteenth-century United States, both as a commercial enterprise and as an index of a rapidly changing society.
Rendered by women artists and writers, these portraits illuminate the most influential women of our time. Liv Ullman marvels at Anne Frank s faith in the face of atrocity. Claudia Roth Pierpont explores how Virginia Woolf s atypical persona informed literature for the next hundred years. Camille Paglia champions Amelia Earhart as a pioneer who invaded the male world. The book also celebrates the fire of Angela Davis, the courage of Aung San Suu Kyi, the brains of Eleanor Roosevelt, and the brio of Ella Fitzgerald. The essays are accompanied by striking duotone photographs by such photographers as Alfred Stieglitz, Man Ray, and Cecil Beaton. Pairings include Joan Didion on Georgia O Keeffe, Terry Tempest Williams on Rachel Carson, and Gloria Steinem on Marilyn Monroe."