Published by Trilce Ediciones. Introduction by Stephen Heller. Text by Carole Goodman, Claudio Sotolongo.
Soy Cuba presents a selection of the finest film posters produced in Cuba from the 1950s until the early 1970s. Famous around the world for their brash originality and bright, clear graphic sensibility, Cuban cinema posters of the Revolutionary era are held in as high esteem as the moodier and more abstract Polish film posters of the same era. Susan Sontag devoted a good part of her noted 1970 essay, “Posters: Advertisement, Art, Political Artifact, Commodity” to the particularly satisfying paradox they present. “The Cubans make posters to advertise culture in a society that seeks not to treat culture as an ensemble of commodities-events and objects designed, whether consciously or not, for commercial exploitation. Then the very project of cultural advertising becomes somewhat paradoxical, if not gratuitous. And indeed, many of these posters do not really fill any practical need. A beautiful poster made for the showing in Havana of, say, a minor movie by Alain Jessura, every performance of which will be sold out anyway (because movies are one of the few entertainments available) is a luxury item, something done in the end for its own sake. More often than not, a poster for ICAIC [Cuban Institute of Cinematographic Arts] by Tony Reboiro or Eduardo Bachs amounts to the creation of a new work of art, supplementary to the film, rather than to a cultural advertisement in the familiar sense.” Collected by designer Carole Goodman in collaboration with the ICAC and other Cuban specialists, this substantial compendium is a visual and intellectual treat.
PUBLISHER TRILCE EDICIONES
BOOK FORMAT Paperback, 9.5 x 13.5 in. / 320 pgs / 272 color.
PUBLISHING STATUS PUB DATE 10/31/2011 Out of stock indefinitely
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: SPRING 2012 p. 32
PRODUCT DETAILS ISBN 9786077663188TRADE LIST PRICE: $32.00 CDN $40.00
Published by Damiani. Foreword by Mario Vargas Llosa.
Even as Mario Testino has become a royal image-maker in England and in Hollywood, where his portraits define the new glamour for a generation of stars, models and celebrities, he has cherished visions of the elegance and endless beaches of Lima, the city where he grew up. He has always confessed his love: "I'm very proud of being Peruvian, I would not want to be from anywhere else. I've lived in Europe for 30 years, but the moment I see our flag I get soppy." And he confesses it again here, though not in a traditional book of his own photography. For in Lima, Peru Testino make his first foray into the role of photo editor, celebrating the title city through the eyes of its artists, photographers, artisans and photojournalists. Of this project's genesis Testino says, "I wanted to capture Lima's positive chaos...I wanted to find a book which conveyed this--the way Lima's artists and photographers have captured their city's color and complexity, its art, its people and its buildings, its street life and its interiors. But no such book existed, and so I decided to edit one myself." In Lima, Peru, Testino sets sweeping views of the city's architecture opposite details of its ceramic tiles. He collects observations of the city's natural exhibitionists as well as those who would normally shy away from the camera. He showcases art, parades, religion, sex, football, market life, architecture, interiors, high society, the bourgeoisie, teenagers, soldiers, surfers, priests, bullfighters, brides, hostesses, street sellers, waiters, artists, dancers, musicians and sun-worshippers. This is a shimmering, kaleidoscopic view of the city--a considered, eclectic and detailed composite from a master portraitist.
Published by Damiani. Interviews by William Westbrook.
Habana Libre is a stunning contemporary exploration of the privileged class in a classless society: a secret life within Cuba. Michael Dweck's photographs are exhilarating, sensual and provocative, with a sexy and hypnotic visual rhythm. This is a face of Cuba never before photographed, never reported in Western media and never acknowledged openly within Cuba itself. It is a socially connected world of glamorous models and keenly observant artists, filmmakers, musicians and writers captured in an elaborate dance of survival and success. Here too are surprising interviews with sons of Fidel Castro and Che Guevara as well as many others who define the creative culture of Cuba and give it texture and substance. Habana Libre is not a media-fabricated Cuban postcard of crumbling mansions or old American cars, but a revealing and contemporary work by a visual artist adept at capturing the quiet gesture, the sensuous eye and the proud and provocative pose of that most romantic of contradictions: Cuba. The photographs of Michael Dweck (born 1957) were first exhibited at Sotheby's, New York, in 2003, in the auction house's first solo exhibition for a living photographer. Dweck's first major photographic work, The End: Montauk, N.Y., published in 2004, blended documentary and staged photography to produce a compelling portrait of a beach community that exists as much in the realm of memory and desire as in the real world. His acclaimed 2008 volume Mermaids explored the female nude refracted in water. Dweck's work has become part of important international art collections and has been shown in major solo gallery exhibitions around the world.
Published by Damiani. Introduction by Ralph Gibson. Text by Lemis Tarajano Noya, Liset Alea, Romina Ruiz-Goiriena, Pedro Juan Gutiérrez.
Traveling extensively in Cuba between 2007 and 2009, photographer Helena de Bragança (born 1978) sought to capture the nation's undocumented lives, from prostitutes and transvestites to punk rockers and swingers. De Bragança's lens temporarily transforms the alleyways, bedrooms and rooftops before her camera into both safe havens and stages.
Published by The Museum of Modern Art, New York. Edited by Gustavo Luis Moré. Introduction by Barry Bergdoll.
In February and March 2008, the International Program and the Department of Architecture and Design at The Museum of Modern Art, New York, organized the Museum's first symposium on the modernist architecture of the Caribbean and bordering Latin American countries, in collaboration with the Caribbean School of Architecture at the University of Technology, Kingston, Jamaica. Topics included regional and international legacies, preservation, environmental sustainability and urban planning, as they relate to modernist architectural history and contemporary practice. The presenters were leading architects and local architectural historians. This illustrated volume presents papers from this symposium by Silvia Arango, Mervyn Awon, Marcus Barinas, Carlos Brillembourg, Jackson Burnside, Jean Doucet, Belmont Freeman, David Gouverneur, Ronny Lobo, Louise Noelle, Mark Raymond, Bruno Stagno and L. Mark Taylor, in both English and Spanish.
Published by RM/Ediciones Lariviere. Foreword by Alejandro Castellote. Text by Valeria González.
Photographer Marcos López has been celebrated internationally for his "Pop Latina" take on his native Argentina, in which the country is portrayed as "a painted cardboard shopping center that flutters in the Patagonian winds." This survey collects all of his work, from the 1970s to the present, tracking his abrupt change to color photography and his recent documentary projects.
Published by Kerber. Edited by Alfons Hug, Peter Junge, Viola König. Text by Michael Taussig, Breyten Breytenbach.
Western art has long nurtered an idyllic dream of "the tropics," absorbing larger cultural longings for exoticism, armchair travel, uninhibited sensuality and the rejection of industrialized civilization. Taking European constructions of tropicality as its point of departure, this volume juxtaposes 200 pre-modern works from Africa, Asia, Oceania and tropical America (from the collections of the Museum of Ethnology in Berlin) with works by 40 contemporary artists from Brazil, South America, Europe, Africa, Australia and Asia, tracing lines of affiliation and critical reflection. These lines are traced through the lenses of such themes as landscape, ancestry, color palette and tropical sounds and musics, themes that have gained particular freight in their association with tropicality. The publication of this volume marks the first time that this complex subject has been broached on such an ambitious scale, making it essential from multiple artistic and anthropological perspectives. Among the artists included in its scope are Franz Ackermann, Fernando Bryce, Edward Burtynsky, Mark Dion, Andreas Gursky, Candida Höfer, Jitish Kallat, Lucia Laguna, Milton Marques, Dennis Nona, Sherman Ong, Navin Rawanchaikul, Hans-Christian Schink, Thomas Struth, Fiona Tan and Guy Tillim.
Published by RM. Photography edited by Claudi Carreras.
Photography has often functioned as a means of resistance in the defense of human rights. Latin America's troubled history and its tangle of cultures have led many image-makers to examine critically their own identity as well as their political and physical environment. This publication gathers powerful work by both established and emerging photographers.
Published by Aperture. Edited and with text by Horacio Fernandez.
A growing appreciation of the photobook has inspired a flood of new scholarship and connoisseurship of the form--few as surprising and inspiring as The Latin American Photobook, the culmination of a four-year, cross-continental research effort led by Horacio Fernandez, author of the seminal volume Fotografia Pública. Compiled with the input of a committee of researchers, scholars, and photographers, including Marcelo Brodsky, Iatã Cannabrava, Pablo Ortiz Monasterio and Martin Parr, The Latin American Photobook presents 150 volumes from Argentina, Bolivia, Brazil, Chile, Colombia, Cuba, Ecuador, Mexico, Nicaragua, Peru and Venezuela. It begins with the 1920s and continues up to today, providing revelatory perspectives on the under-charted history of Latin American photography, and featuring work by great figures such as Claudia Andujar, Barbara Brändli, Manuel Álvarez Bravo, Horacio Coppola, Paz Errázuriz, Graciela Iturbide, Sara Facio, Paolo Gasparini, Daniel González, Boris Kossoy, Sergio Larrain and many others. The book is divided into thematic sections such as “The City,” “Conceptual Art and Photography” and “Photography and Literature,” the latter a category uniquely important to Latin America. Fernandez's texts, exhaustively researched and richly illustrated, offer insight not only on each individual title and photographer, but on the multivalent social, political, and artistic histories of the region as well. This book is an unparalleled resource for those interested in Latin American photography or in discovering these heretofore unknown gems in the history of the photobook at large.
Published by Kerber. Text by Herbert Maier, Teresa Ruiz Rosas, Klaus Zinser.
Throughout the 1980s and 1990s, German photography Klaus Zinser (born 1950) made numerous trips to Peru, before finally relocating from Freiburg (in south-western Germany) to Lima, where he spent four years documenting the country’s rare blend of ancient and modern. Entranced by Peru’s preservation of Inca cosmology and spiritual values, and its unique syncretism between native Inca and colonial Catholic religions, Zinser undertook to pursue traces of the ancient in the everyday. The photographs gathered in this new large-format monograph easily shrug off the traps and clichés of the tourist gaze, highlighting instead the ordinariness of the archaic—with an occasional breathtaking panorama of an Inca temple high up the Andes, surrounded by vast stretches of forest and mountainscape. Throughout the book, Zinser’s text offers contextualizing commentary on the survival of ritual and tradition in all regions of the country.