The ocean and the beach have always provided humankind with ready metaphors for the infinite. For New York photographer Tria Giovan, the beaches of Long Island inspired a fascinating attempt to comprehend their vastness and that of the Atlantic Ocean beyond. Known for her portraits of Cuban daily life (collected in Cuba: The Elusive Island) and her regular publication in magazines such as Aperture, Elle, Harpers and Vogue, Giovan has traveled all over the globe throughout her 25-year career, but here she has decided to stay close to home. Accumulating roughly 10,000 photographs of the undisturbed Sagaponack beaches on the eastern end of Long Island, Giovan charted the change of seasons and myriad shifts of light and atmosphere as the tides rose and receded each day. With a selection of 63 captivating prints and an accompanying essay by ecologist Carl Safina, Sand Sea Sky offers the photographer’s meditations on fragility, the vastness of nature and the inevitability of change. As Giovan also observes: “these photographs of this vulnerable landscape invite a thoughtful concern about the environmental preservation of special places that engage our capacity for wonder.”
Published by Hatje Cantz. Edited by Pia Müller-Tamm. Text by Hiroshi Sugimoto, Kerry Brougher.
Genius of the large-format camera, the long exposure and the silverprint, New York-based photographer Hiroshi Sugimoto has made pictures that seem to contain whole aeons of time within themselves, and suggest an infinite palette of tonal wealth in blacks, grays and whites. Many of these images have now become a part of art culture's popular image bank (as U2's use of Sugimoto's "Boden Sea" for the cover of their 2009 album, No Line on the Horizon, demonstrated), while simultaneously evoking photography's earliest days: "I probably call myself a postmodern-experienced pre-postmodern modernist," he once joked to an interviewer. This absolutely exquisite retrospective is an expanded edition of Hatje Cantz's 2005 volume. It is the first to feature works from all of Sugimoto's series to date: his celebrated portraits of wax figures, his incredible seascapes that seem to suggest a person's first conscious view of the ocean, the extremely long exposures of theaters which elevate the white, luminescent cinema screen and transform it into a magical image of an altar and the fascinating dioramas of scientific display cases, which invite us to travel far into the past. Additions to the original edition are two new groups of works, "Lightning Fields" (2006) and "Photogenic Drawings" (2007). Hiroshi Sugimoto was born and raised in Tokyo, Japan, where he studied politics and sociology at St. Paul's University, later retraining as an artist at the Art Center College of Art and Design in Los Angeles, CA. He currently lives in New York City.
Published by Hatje Cantz Publishers. Photographs by Robert Weingarten.
For an entire year--whenever he was at home--Robert Weingarten photographed the view from his bedroom window overlooking Santa Monica Bay each morning, just after dawn. Every shot was taken from the same camera position, using the same lens, and focusing on the same frame of view, yet the reduced motif has a different look in every one of the atmospheric photographs reproduced here. The small sliver of land between Santa Monica Beach, Los Angeles International Airport, and the ocean undergoes amazing transformations under the influences of the changing seasons, weather, and visibility conditions. In a formal sense, Weingarten's magnificent, vividly colored images are reminiscent of abstract realism paintings. These systematic, focused observations of nature in the tradition of Claude Monet prompt viewers to stop and consider what wonders they may have passed by without really looking.
Published by Radius Books. Text by Richard B. Woodward, Jasmin Seck, Dr. Petra Roettig.
German-born photographer Renate Aller has been photographing the Atlantic Ocean for over a decade, from a single point on Long Island’s fabled coastline. Her images capture the shifting colors and textures of the sky and water, and the beauty and grandeur of the ocean, providing a rich document of what has made the Hamptons such an integral aspect of New York life. The sublime beauty of this Atlantic view, which Aller connects to the great nineteenth-century German Romantic painter Caspar David Friedrich, also invokes metaphors for the landscapes of human emotions. Aller’s viewpoint is static, but the changing weather and light allow for a diverse series of images that invite a plethora of associations. Essays place Aller’s work both in the context of landscape photography and the history of images of the Hamptons.
Published by The Museum of Modern Art, New York. Edited by Barry Bergdoll. Foreword by Judith Rodin. Text by Barry Bergdoll, Michael Oppenheimer, Guy Nordenson.
In the fall of 2009, The Museum of Modern Art and MoMA PS1 selected five interdisciplinary teams of architects, engineers and landscape designers to propose solutions to the effects of climate change on New York's waterfront. The resulting proposals, exhibited at MoMA in 2010 in the exhibition Rising Currents: Projects for New York's Waterfront, emphasize "soft" infrastructure interventions that would make New York City and its surrounding areas more ecologically sound and more resilient in responding to rising sea levels and storm surges. These innovative projects include the creation of salt- and freshwater wetlands, a Venice-like aqueous landscape, habitable piers and man-made islands, and a protective reef of living oysters. Published to document the exhibition, Rising Currents: Projects for New York's Waterfront presents these five projects in detail through essays that summarize the innovative workshop and exhibition, the dialogues they engendered with outside experts and political figures involved in regional planning, and the climate change and urban planning implications of the proposed solutions.
Published by Jovis. Essays by Nicola Kuhn and Oliver Elser.
The sky over Berlin and the horizon of Los Angeles: both have become nostalgic stars in art, literature and the movies. Photographer Eva Castringius combines the airy spheres of the two cities on an intimate voyage through their streets in an unusual yet obvious vehicle: the artist's car.
Published by Hatje Cantz. Text by Richard Hamblyn, Redmond O'Hanlon.
At the age of twelve, Kevin Erskine (born 1956) witnessed his first big storm: a category four tornado with wind speeds of over 207 miles per hour that raged through the center of his hometown of Hoskins, Nebraska. Fascinated and inspired by this immense force of nature, Erskine began taking his first photographs with his father’s camera. Kevin Erskine: Supercell collects 120 of his most stunning large-format portraits of supercells: the least common, often isolated and frequently most severe of all thunderstorms. The photographs depict enormous cloud masses in continually shifting formations: encroaching thunderstorms and pitching tornados create a rich palette that ranges from luminescent periwinkle grandeur to an almost apocalyptic darkness swallowing a red evening sun. In these visions of flat, threatened landscapes under collapsing atmospheres, Erskine masterfully demonstrates the ambivalence between the terrifying force of nature and its stunning beauty.
Invisible: Covert Operations and Classified Landscapes is Trevor Paglen's long-awaited first photographic monograph. Social scientist, artist, writer and provocateur, Paglen has been exploring the secret activities of the U.S. military and intelligence agencies--the "black world"--for the last eight years, publishing, speaking and making astonishing photographs. As an artist, Paglen is interested in the idea of photography as truth-telling, but his pictures often stop short of traditional ideas of documentation. In the series Limit Telephotography, for example, he employs high-end optical systems to photograph top-secret governmental sites; and in The Other Night Sky, he uses the data of amateur satellite watchers to track and photograph classified spacecraft in Earth's orbit. In other works Paglen transforms documents such as passports, flight data and aliases of CIA operatives into art objects. Rebecca Solnit contributes a searing essay that traces this history of clandestine military activity on the American landscape.
The greater Los Angeles area covers 4,850 square miles--the size of a small country--and holds almost 18 million people. Perhaps America’s largest human creation, it has been vilified and celebrated in equal measure since its inception. Is L.A. the face of the apocalypse, or an ultimate paradise at continent’s edge--or both? With LA Day/LA Night, photographer Michael Light continues his aerial examination of the arid American West by bringing together two opposing views of the city in a double-volume set. LA Day stares directly into the sun, which blasts the metropolis in a relentless and specific light. LA Night drifts over the city as it grows darker, and begins to resemble the starry sky vaulted above. Referencing Ed Ruscha, Peter Alexander, Julius Schulman and writers from Philip K. Dick to Raymond Chandler, LA Day/LA Night continues Los Angeles’s rich cultural legacy of examining its favorite schizophrenic subject--itself.
Published by Hatje Cantz. Preface by Nathalie Roux. Text by Mathilde Roman.
German-born, Paris-based photographer Jürgen Nefzger is known for ecologically minded series that pit hypersaturated shots of pristine landscapes against images of manmade industry. Fluffy Clouds (2003-2006), for instance, features idyllic landscapes in France, Germany, Spain, Switzerland, Britain and Belgium that ironically frame the iconic billowing clouds emitted by nuclear power plants. In Panta Rhei (2006), a photograph of melting Alpine glaciers is placed next to that of a bustling ski resort. Nocturnes includes images taken in Clermont-Ferrand, France, at the foot of the Puys mountains, a chain of volcanoes for which the city is famous. The Puy-de-Dōme, the tallest volcano, sports a mass of visible telecommunication antennas. In this volume, Nefzger takes us on a journey beginning at the top of the volcanoes and venturing down into the city. Jürgen Nefzger was born in Fürth, Germany, in 1968. He is represented by Galerie Franēoise Paviot, Paris.