Published by Steidl/Partners. Text by Klaus Honnef, Sebastian Lux, Ulrich Rüter, Hans-Michael Koetzle.
The photography of F.C. Gundlach defines the look of post-war fashion in Germany. Using strong contrast effects, he was able to create a style that unified model, clothing and backdrop into a single composite, merging, for example, in one famous series, the bold stripes of an Op Art jacket with the pyramids at Giza beyond, or clustering a model in boa feathers within a phalanx of police officers. During the four decades following the end of the Second World War, Gundlach worked for high-circulation magazines in Germany such as Film und Frau, Constanze, Annabelle, Stern and Quick. In 1963 he signed an exclusive contract with the magazine Brigitte, and from this point on he began to embody the image of 60s couture photography in Germany, with his frequent borrowings from Op and Pop art idioms. Born in 1926, Gundlach was also the founder of the photographic supplies company PPS and the PPS Galerie, one of the first photo galleries in Germany, and has done much influential work as a lecturer and exhibition curator. This monograph, the first in English to offer an extensive consideration of Gundlach’s oeuvre, and co-designed by Gundlach himself, establishes his significance as a trailblazer in the industry.
Published by Steidl. Foreword by Grace Coddington. Text by Martin Harrison.
This is Arthur Elgort's (born 1940) first comprehensive book, showing his world-renowned fashion imagery alongside his personal work. The Big Picture spans Elgort's five-decade career and illustrates his longevity as an emulated fashion photographer. His lively and casual shooting style is significantly influenced by his lifelong love of music and dance, particularly jazz and ballet. Elgort's 1971 debut in British Vogue created a sensation in the fashion world where his soon-to-be iconic snapshot style and emphasis on movement and natural light transgressed norms of fashion photography. Elgort subsequently rose to fame working for such distinguished magazines as American, French and Italian Vogue, Interview, GQ, Life and Rolling Stone and shooting advertising campaigns for fashion labels including Chanel, Valentino and Yves Saint Laurent.
Published by Silvana Editorale. Edited by Dario Cimorelli, Alessandra Olivari. Text by Simonetta Agnello Hornby, Angela Madesani.
Eve Arnold (1912–2012) was not only the first woman to become associated with Magnum Photos, but also one of the major photographers of the twentieth century. Throughout her long career, she photographed celebrities and Hollywood stars at the height of glamour--such as Marilyn Monroe (a close friend of Arnold’s), Joan Crawford, Elizabeth Taylor and Marlene Dietrich--as well as the poor and dispossessed. Her work was sought out by presidents, royalty and political activists: Malcolm X personally asked Eve Arnold to document his fight against racism. For her international work, which took her from Afghanistan to Mongolia and was often commissioned by leading magazines, she received numerous honors and awards, culminating in her election as Master Photographer, the world’s most prestigious photographic honor. Eve Arnold includes a biography of the artist, a foreword by Angela Madesani and text by Arnold’s close friend Simonetta Agnello Hornby.
BOOK FORMAT Paperback, 9 x 11 in. / 168 pgs / 130 color.
PUBLISHING STATUS Pub Date 10/31/2014 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2014 p. 103
PRODUCT DETAILS ISBN 9788836627936TRADE List Price: $38.00 CDN $45.00
Published by Museo Thyssen-Bornemisza. Text by Lucy Davies. Preface by Yolanda Sacristán.
Vogue: Like a Painting is a lavish celebration of the intersection between the worlds of fashion photography and European art historical tradition. Compiling 67 carefully selected images from the Vogue archive, the volume explores fashion photographs of the last eight decades that take their inspiration from classical painting--those images that have become only marginally related to selling clothes (or perhaps all the better at it for their painterly invocations). Sometimes explicitly--we see direct homages to Vermeer and Hopper, for example--and sometimes more subtly, these images culled from Vogue's pages reference Spanish painting from the Golden Age, Dutch portraiture, Victorian and Pre-Raphaelite paintings and various schools contained in European royal collections. Traces of Constable, Zurbarán and Sorolla can be found within this volume, which brings together names from classic photography and those from more recent generations: Irving Penn, Erwin Blumenfeld, Horst P. Horst, Annie Leibovitz, Tim Walker, Paolo Roversi, Steven Klein, David Sims, Erwin Olaf, Mario Testino, Michael Thompson and Peter Lindbegh, to name a few. While some of these photographs are about direct mimicry, others are similar to painting only in technical approach--and some simply share the goal of revering women rather than sexualizing or objectifying them. With a gorgeous tipped-on cover and text by Lucy Davies, editor at The Telegraph, Vogue: Like a Painting is a volume produced as beautifully as its photographic contents.
PUBLISHER Museo Thyssen-Bornemisza
BOOK FORMAT Clth, 9.5 x 12.5 in. / 160 pgs / 59 color / 8 bw.
PUBLISHING STATUS Pub Date 11/24/2015 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2016 p. 30
PRODUCT DETAILS ISBN 9788415113683TRADE List Price: $65.00 CDN $87.00
AVAILABILITY Out of stock
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
Published by Hatje Cantz. Edited by Klaus Albrecht Schröder, Walter Moser. Text by Anna Hanreich, Astrid Mahler, Elissa Mailänder, Walter Moser, Ute Wrocklage.
Lee Miller (1907-77) began her artistic career in 1929 as a Surrealist photographer in Paris. She produced images, often in collaboration with Man Ray, in which she isolated motifs by means of tight framing and experimental techniques, and in doing so rendered visible a paradoxical reality. This publication surveys Miller's best works, including early Surrealist compositions as well as travel photos. At the end of World War II, Miller traveled through Europe as a war reporter, producing harrowing photographs of considerable historical significance. One of her most spectacular pictures originated in late April 1945 in Adolf Hitler's city apartment at Prinzregentenplatz in Munich: Lee had a photo taken of herself sitting naked in the dictator's bathtub--not long after having captured on film the crimes committed in the concentration camps in Dachau and Buchenwald immediately after their liberation by the occupying forces (Miller was one of the first photographers to do so).
Published by Damiani. Edited and with text by David Wills. Introduction by Anjelica Huston.
He was born Ira Gallantz in 1932 in the Bronx, but later changed his name to the more exotic-sounding Ara Gallant—and the life he led was indeed an exotic one. Gallant began his professional career in fashion as a hairdresser, working at Bergdorf Goodman department store in New York as one of the city's top colorists. In the mid-1960s, he was approached by Vogue and began to work exclusively on photo assignments, the first hair stylist to be paid to fulfill such a role. Gallant went on to work with many of the great fashion photographers of the period, Richard Avedon, Irving Penn and Bert Stern among them. Perhaps his most notable contribution as a stylist was the introduction of “flying hair,” an effect he first used on an Avedon shoot with iconic model Twiggy in 1966, and which is still widely employed today. By the early 1970s, Gallant had begun shooting his own pictures, his first assignment being a set of celebrity portraits for Interview magazine. His work often juxtaposed classic Horst-like compositions with contemporary scenarios. In the early 1980s, Gallant moved to Los Angeles to pursue a directing career, which never happened; in 1990, he committed suicide in a Las Vegas hotel room. This new book tracing Gallant's life and career is edited by David Wills and features photographs by Richard Avedon plus a foreword by Anjelica Huston.
Published by Damiani/Milk. Text by Michel Comte. Interview by Bobby Woods.
For more than 35 years, photographer Michel Comte (born 1954) has been one of the most in-demand editorial and fashion photographers in the world. Since 2006, he has worked almost exclusively with Milk Studios on photography and film projects. With the advantage of a base of operations at the Milk Studios in New York City and Los Angeles, Comte has found the freedom to work outside of and transcend the limitations of the traditional "fashion photographer" role, working in fashion, portraiture, reportage and now motion pictures. "Whether Michel has a Hollywood celebrity or an orphan from the Third World in front of his lens," said Tina Brown, former editor-in-chief of the New Yorker, "he takes both their pictures with the same sincerity and devotion." Published on the occasion of the 20-year anniversary of Milk Studios, this deluxe clothbound volume was designed by creative director Mike Meiré, whose own 25-year career working at the nexus of culture and design is the stuff of legend. Featuring images from Comte’s legendary archive, including previously unpublished behind-the-scenes imagery and film stills, Michel Comte and Milk: A Collaboration 1996–2016 is a celebration of passion, storytelling and the creative process.
Samuel Fosso (born 1962) is one of Africa's preeminent photographers. The artist began taking self-portraits to send to his mother in Nigeria, when he was made a refugee by the Biafran War. His initial intention was to show he was alive and well, but Fosso soon came to incarnate an inventive range of characters from an African chief to a Japanese marine.
David Bailey was the model for the swinging playboy photographer in Michelangelo Antonioni’s classic 1966 film, Blow-Up. Born in London in 1938, Bailey had, by 1960, become the first celebrity photographer--known especially for his revolutionary work for Vogue, and for the fact that he socialized with actors, musicians and royalty. His many influential books include, Trouble and Strife (1980), Nudes (1984), If We Shadows (1991), The Lady Is a Tramp (1995) and Rock ’n’ Roll Heroes (1997). Bailey’s Box of Pin-Ups (1964)--a box of posters of London celebrities like Terence Stamp, The Beatles and the notorious East End gangsters, The Kray Twins--remains an extremely influential publication for its then-odd close cropping of the subjects’ heads, which has since become a common technique in fashion photography, in order to give the illusion that the model is larger than life. In 1973, Bailey did all his major fashion shoots for British Vogue with actress and, at that time, occasional model, Anjelica Huston. This irresistible volume chronicles the duo's fiery photographic collaboration. The title, “Is That So Kid,” is borrowed from Huston's father, film director John Huston’s, trademark retort.
Published by Art / Books. Edited by Diana Donovan, David Hillman. Preface by Grace Coddington. Text by Robin Muir.
Terence Donovan was one of the foremost photographers of his generation--among the greatest Britain has ever produced. He came to prominence in London as part of a postwar renaissance in art, fashion, graphic design and photography, and--alongside David Bailey and Brian Duffy (photographers of a similar working-class background)--he captured and helped create the Swinging London of the 1960s. Donovan socialized with celebrities and royalty, and found himself elevated to stardom in his own right, and yet, despite his success and status, there has never been a serious evaluation of Donovan’s fashion work: he allowed no monographs to be published during his lifetime. Terence Donovan Fashion is therefore the first publication of his fashion photographs. Arranged chronologically, and with an illuminating text by Robin Muir (ex-picture editor of Vogue), the book considers Donovan in the social and cultural context of his time, showing how his constant experimentation not only set him apart, but also influenced generations to come. Designed by former art director of Nova magazine and Pentagram partner David Hillman, and with images selected by Hillman, the artist’s widow Diana Donovan and Grace Coddington, creative director of American Vogue, this volume is indisputably a landmark publication in the history of fashion photography. Terence Donovan (1936–1996) is regarded as one of the foremost photographers of his generation. From the beginning of the 1960s until his death more than 30 years later, he shot regularly for magazines such as Vogue, Elle and Harper’s Bazaar. He also directed some 3,000 commercials, the 1973 movie Yellow Dog and numerous music videos, for Robert Palmer’s “Addicted to Love” and “Simply Irresistible” among others.