Ben Shahn, renowned painter, muralist, and graphic artist, was also a talented photographer who made documentary street photographs in New York City in the early 1930s. This book is the first to focus on his compelling New York images, showing how he used a camera to comment on many social issues of his day.
As a political activist Shahn became interested in newspaper photography as source material for some of his paintings and satires. Soon he was engaged in street photography himself, documenting the working-class and immigrant populations and providing a poignant record of unemployment and poverty during the Depression years. The book considers the immediate social history of Shahn's New York photographs and analyzes how his leftist politics and his interest in news photographs and film affected his photographic aesthetic. The authors assert the importance of analyzing Shahn's paintings and photographs together, explaining why the connections between the two have been ignored until now. The book reproduces not only Shahn's New York photographs but also his related paintings, prints, and drawings, and an appendix presents documents that speak to the pervasive impact of his photographic work.
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.
Foote abandoned a successful fashion shooting career to wander the back alleys, scrub land and bars of Memphis creating the compositions in this book. It includes texts by photographer William Eggleston and film director Bernardo Bertolucci.
Photographs by Stefan Hagen
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With more personality than most people have to spare, New York artist Sloane Tanen's tiny yellow chickens negotiate the tricky modern world, filled with three-headed blind dates, menacing KFCs, playground popularity battles, and annoyingly crowded yoga classes. They perch amid doll furniture, in scenes photographed in glorious color and brilliantly captioned- and their lives will strike you as strangely familiar...
Charming, spiky with off-kilter wit (or waxing jobs gone terribly wrong), and somehow larger than life, these chickens win the hearts of all who behold them.
Manuel Alvarez Bravo is one of the foremost figures of modern photography and the only photographer among the great Mexican artists of the 20th century. Bravo has produced work of exceptional quality throughout his long career: formal experiments of the 1920s were followed by modernists works inspired by such international trends as Surrealism, and the early 30s saw him develop a gifted personal style that suggested specific Mexican customs and rituals. The majority of this volume's 175 tritone plates were made from rare vintage prints assembled from private collections or furnished by the artist; many have never before been published and some have not been seen or exhibited since the 1930s. This volume was published in conjunction with a 1997 exhibition at The Museum of Modern Art, New York.
The horizon has been ever-present in Craig Blacklock's work, but in this book, he reduces the image to the simple division of sky and water. From cliffs above Lake Superior, Blacklock distills the magic of light and weather over water.
An intimate biography of the photographer known for his portraits of the American Indians explores the lasting impact of his work, which serves as a bridge between the romantic past and contemporary Native American communities, and details his life, including his impoverished boyhood, rise to succe
Sara Midda's richly illustrated In and Out of the Garden has delighted readers and critics alike. Diana Vreeland praised it as "delightful and delicious," and Laura Ashley called it "pure inspiration."The most elegant and subtle of books to give and to have, it evokes the English gardens of Sara Midda's childhood, sowing the imagination with glorious images. Dozens and dozens of illustrations and tender reflections recall a hut in the wood, or a topiary maze, a summer day spent podding peas, or an herb patch that yields Biblical fragrances. Ruby-red radishes are the jewels of the underworld. Myriad colors fall upon warm green moss. Painted with Sara Midda's fine brush, it is a book of lasting enchantment.
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.
Wood burners, also known as wigwam burners due to their conical shape, were once common at sawmills throughout the Pacific Northwest, where they were used to incinerate the enormous excess of sawdust and scraps that was a byproduct of every mill. As a result of the passage of environmental legislation in the 1970s that outlawed their use, these structures are vanishing from the American Landscape. Through photographs, drawings and maps, this volume examines the history and typology of this little-known vernacular architecture.