In the late 1960s, the photographer and photography teacher Joseph Szabo first discovered Jones Beach state park in Nassau County, New York. Since then, Szabo has struck up friendships with the lifeguards on duty at what is surely among the busiest beaches in the world, finding them as fascinating as the bodies they watch over. Restful and alert, solitary and part of a team, aloof and involved, the lifeguard is a unique character and a local celebrity on the beach.
Joseph Szabo: Lifeguard documents the photographer’s encounters and friendships with the Jones Beach lifeguards in photographs taken between 1990 and 2015. Portraits in the most expansive sense of the word, the images in this volume illustrate the day-to-day preparation, teamwork, relaxation, camaraderie, duty and responsibility in the lives of these figures that Szabo has come to know and respect.
A sensitive and wry observer, Joseph Szabo (born 1944) has been called the “quintessential photographer of the teenager.” He is best known for his photographs of adolescents taken in and around the halls of Malverne High School in Long Island, where he taught photography from 1972 to 1999, which were published in the photobook classic Teenage (Greybull, 2003). Turning his camera on his students to get their attention, Szabo captured the anxiety and bravado of the American teenager in classic documentary style black-and-white photographs that quickly attained cult status in the fashion world.
The Swimming Pool is a new photographic essay from California-based street photographer Deanna Templeton (born 1969) that departs from her usual style to offer an expressive, intimate view of the human form underwater. The series was born after an impromptu nude swimming-pool shoot of husband and artist Ed Templeton, which spurred an eight-year journey in the study of light, expression and the enigma of water. Shooting entirely on color and black-and-white film and Polaroid, Templeton sent friends into the pool to be photographed in their truest form. Unlike her street photography, in which subjects were often strangers, Templeton found that creating these portraits required more intimacy and connection—a feeling that is apparent throughout every image in the series, which show strong, liberated individuals, confident and at ease in their most beautiful and vulnerable moments. As Ed Templeton writes in his afterword to this volume, "the nude swimmer is floating in a void of quiet solitude, the gentle pressure of being underwater enclosing her form like a baby in a womb and nothing exists outside of this world. A lone figure amidst a sea of blues and greys and frenetic sunlight performing a solitary dance for the photographer above, choosing movements and directions, twisting and swooping, contorting and expelling breaths painting a picture of form and light together." The Swimming Pool offers a deep and inspiring view of the human form.
PUBLISHER Um Yeah Arts
BOOK FORMAT Hardcover, 12.5 x 11 in. / 96 pgs / 26 color / 41 bw
PUBLISHING STATUS Pub Date 6/28/2016 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2016 p. 102
PRODUCT DETAILS ISBN 9781942884002TRADE List Price: $55.00 CDN $72.50
AVAILABILITY In stock
in stock $55.00
UPS GROUND IN THE CONTINENTAL U.S. FOR CONSUMER ONLINE ORDERS
Published by Hatje Cantz. Text by Francis Hodgson.
A photographic leap into cooling waters
The Swimming Pool in Photography invites readers to dive into the cultural history of swimming pools.
As long as 5,000 years ago, the allure of the sea inspired humans to recreate its essence in miniature artistic forms, such as public baths where ancient rituals would take place. Since then, swimming pools have become status symbols and a source for a gamut of purposes from athletics to the simple pleasure of just being in water. It is no wonder, then, that filmmakers and photographers constantly return to the swimming pool as a subject and setting.
Reflections of water and light are captured in countless unique ways in the more than 200 compelling images of pools and swimmers that comprise this catalog. The Swimming Pool in Photography includes works by Henri Cartier-Bresson, Gigi Cifali, Stuart Franklin, Harry Gruyaert, Emma Hartvig, Jacques Henri Lartigue, Joel Meyerowitz, Martin Parr, Paolo Pelligrin, Mack Sennett, Alec Soth, Larry Sultan, Alex Webb and many others.
Published by Damiani. Foreword by Michael Halsband. Text by Ed Thompson. Photographs by Julien Roubinet.
East Coast surf culture from Montauk to Rockaway Beach and Cape May
Unbeknownst to many who live there and to the throngs of tourists who stop by each year, the beaches of New York and New Jersey are home to a diverse and vibrant coldwater surfing community. Ice Cream Headaches captures a snapshot of this often-overlooked facet of life and leisure in America’s most dense metropolis.
Over a span of four years, writer Ed Thompson and photographer Julien Roubinet—who met surfing at Rockaway Beach—have logged more than 4,000 miles from Eastern Long Island to Cape May, interviewing and photographing the surfers, surfboard shapers, artists and documentarians who make up the scene. From local legend and Montauk fisherman Charlie Weimar to Pulitzer Prize-winning author William Finnegan to professional surfers with global followings such as Quincy Davis, Mikey De Temple and Balaram Stack, the New York surf community is a colorful one. Ice Cream Headaches highlights the surfers who experiment with new forms, materials, ideas and surfing styles in the often-frigid Atlantic waves.
Across 192 pages, the book features four essays rich with quotes and anecdotes, more than 110 extraordinary photographs and a foreword by iconic portrait and surf photographer Michael Halsband. Ice Cream Headaches takes the reader inside the surf breaks and stomping grounds of the surfers who call New York and New Jersey home, surfers who are willing to pull on a 5mm wetsuit, wade through a foot of snow on the beach and battle 30-mile-per-hour winds for a few fleeting moments inside a yawning barrel.
New York–based, British-born photographer Adam Fuss (born 1961) has been exploring the subject of water for more than 30 years, and is perhaps best known for his life-sized photograms of this essential element.
Fuss is inspired by his personal observation of nature and his reinterpretation of the techniques of early photography. In dialogue with photographic pioneers such as William Henry Fox Talbot, Eugène Atget and Anna Atkins, Fuss distills the essence of photography—light interacting with a sensitized surface—to create evocative, startlingly beautiful images of the natural world. Roberta Smith has described Fuss’ style as “breathtaking visual extravagance born of a combination of pure controlled chance and superb control.”
Here, for the first time, is a book dedicated solely to the subject Fuss is most associated with: water. Charting a sophisticated engagement with the interaction of water and light throughout his entire career, Fuss personally selected all the pictures, which appear here in exquisite reproductions. Some of Fuss’ photographs of water are now classics of contemporary photography, such as the swimming snakes, the splashing newborn baby and the studies of concentric circles created by water drops; these are represented in this volume alongside many previously unpublished images.
Published by Skira. By Nico Maria Filigheddu, Giovanni Maria Filigheddu. Edited by Adriano Asara.
A book of inspirational pictures of pools of the Emerald Coast. Twelve amazing pools with architectural lines surrounded by lush Sardinian landscapes. Swimming pools: whether they look directly out over the sea or are set in a garden, whether they have a free form or are more geometrically shaped, whether they are designed to take your breath away or are a discreet addition to their surroundings, pools have become an integral component in the project of a holiday home and are inescapably connected in the mind’s eye with well-being and relaxation. This volume, which takes us into some of the most beautiful villas on the Emerald Coast, includes a selection of exceptional examples of pools that differ greatly: sometimes it all looks as though it was created by nature, but it was a human hand, Filigheddu Costruzioni, that selected and created the high-profile technical handcrafted solutions. A freshwater pool set in one of the most spectacular stretches of the whole Mediterranean coastline necessarily requires that it be designed with great sensibility and with expert knowledge of materials, using both the most innovative, high-tech solutions and consummate craftsmanship.
Giovanni Maria Filigheddu is the administration and sales manager; Nico Filigheddu is site manager; and Adriano Asara is production and public relations manager of Filigheddu costruzioni.
Published by Damiani. Edited by Ben Smales. Introduction by Edmund White. Text by Tom Bianchi.
Growing up in the 1950s, Tom Bianchi would head into downtown Chicago and pick up 25-cent “physique” magazines at newsstands. In one such magazine, he found a photograph of bodybuilder Glenn Bishop on Fire Island. “Fire Island sounded exotic, perhaps a name made up by the photographer,” he recalls in the preface to his latest monograph. “I had no idea it was a real place. Certainly, I had no idea then that it was a place I would one day call home.” In 1970, fresh out of law school, Bianchi began traveling to New York, and was invited to spend a weekend at Fire Island Pines, where he encountered a community of gay men. Using an SX-70 Polaroid camera, Bianchi documented his friends’ lives in the Pines, amassing an image archive of people, parties and private moments. These images, published here for the first time, and accompanied by Bianchi’s moving memoir of the era, record the birth and development of a new culture. Soaked in sun, sex, camaraderie and reverie, Fire Island Pines conjures a magical bygone era. Tom Bianchi was born and raised in the suburbs of Chicago and graduated from Northwestern University School of Law in 1970. He became a corporate attorney, eventually working with Columbia Pictures in New York, painting and drawing on weekends. His artwork came to the attention of Betty Parsons and Carol Dreyfuss and they gave him his first one-man painting show in 1980. In 1984, he was given his first solo museum exhibition at the Spoleto Festival. After Bianchi’s partner died of AIDS in 1988, he turned his focus to photography, producing Out of the Studio, a candid portrayal of gay intimacy. Its success led to producing numerous monographs, including On the Couch, Deep Sex and In Defense of Beauty.
Poolscapes brings together two bodies of work—The Pool (2002–05) and Poolscapes (2009–12)—by French-born, Brooklyn-based photographer Karine Laval (born 1971), both focusing on the motif of the swimming pool. Presenting public pools in urban and natural environments throughout Europe and private pools in the US in two distinct sections, the book is arranged chronologically and shows an evolution in tone and depth, from the photographic to the painterly. The Pool series invites us into a sun-bleached public pool at midday, evocative of childhood memories and the experience of leisure and bathing. Gradually these geometric lines and familiar architectural structures give way to the abstract, often blurred shapes and colors of the Poolscapes pictures that oscillate between representation and abstraction. Here the pool becomes a metaphor, a mirror whose surface reflects the surrounding world but is also a gateway into a realm where bathers are distorted and fragmented.
Published by Metropolis Books/Gordon de Vries Studio. Foreword by Alastair Gordon. Text by Christopher Bascom Rawlins.
As the 1960s became The Sixties, architect Horace Gifford executed a remarkable series of beach houses that transformed the terrain and culture of New York’s Fire Island. Growing up on the beaches of Florida, Gifford forged a deep connection with coastal landscapes. Pairing this sensitivity with jazzy improvisations on modernist themes, he perfected a sustainable modernism in cedar and glass that was as attuned to natural landscapes as to our animal natures. Gifford’s serene 1960s pavilions provided refuge from a hostile world, while his exuberant post-Stonewall, pre-AIDS masterpieces orchestrated bacchanals of liberation. Marilyn Monroe, Elizabeth Taylor and Montgomery Clift once spurned Hollywood limos for the rustic charm of Fire Island’s boardwalks. Truman Capote wrote Breakfast at Tiffany’s here. Diane von Furstenburg showed off her latest wrap dresses to an audience that included Halston, Giorgio Sant’ Angelo, Calvin Klein and Geoffrey Beene. Today, such a roster evokes the aloof, gated compounds of the Hamptons or Malibu. But these celebrities lived in modestly scaled homes alongside middle-class vacationers, all with equal access to Fire Island’s natural beauty. Blending cultural and architectural history, Fire Island Modernist ponders a fascinating era through an overlooked architect whose life, work and colorful milieu trace the operatic arc of a lost generation, and still resonate with artistic and historical import.
Mid-Century Architecture and Community on the Outer Cape
Published by Metropolis Books. Foreword by Kenneth Frampton. Text by Peter McMahon, Christine Cipriani. Photographs by Raimund Koch.
In the summer of 1937, Walter Gropius, founder of the Bauhaus and a professor at Harvard’s new Graduate School of Design, rented a house on Planting Island, near the base of Cape Cod. There, he and his wife, Ise, hosted a festive reunion of Bauhaus masters and students who had recently emigrated from Europe: Marcel Breuer, Herbert Bayer, László Moholy-Nagy, Xanti Schawinsky and others. Together they feasted, swam and planned their futures on a new continent, all sensing they were on the cusp of a momentous new phase in their lives. Yet even as they moved on, the group never lost its connection to the Cape Cod coast. Several members returned, when they had the means, to travel farther up the peninsula, rent cabins, buy land and design their ideal summer homes. Thus began a chapter in the history of modern architecture that has never been told--until now. The flow of talent onto the Outer Cape continued and, within a few years, the area was a hotbed of intellectual currents from New York, Boston, Cambridge and the country’s top schools of architecture and design. Avant-garde homes began to appear in the woods and on the dunes; by the 1970s, there were about 100 modern houses of interest here. In this story, we meet, among others, the Boston Brahmins Jack Phillips and Nathaniel Saltonstall; the self-taught architect, carpenter and painter Jack Hall; the Finn Olav Hammarström, who had worked for Alvar Aalto; and the prolific Charlie Zehnder, who brought the lessons of both Frank Lloyd Wright and Brutalism to the Cape. Initially, these designers had no clients; they built for themselves and their families, or for friends sympathetic to their ideals. Their homes were laboratories, places to work through ideas without spending much money. The result of this ferment is a body of work unlike any other, a regional modernism fusing the building traditions of Cape Cod fishing towns with Bauhaus concepts and postwar experimentation.
Published by Damiani. Text by Paul Moakley. Interview by A. H. Data.
Taken in the "forgotten borough" of Staten Island between 1983 and 1984, the photographs in Christine Osinski’s (born 1948) Summer Days Staten Island create a portrait of working-class culture in an often overlooked section of New York City. Captured on Osinski’s large format 4x5 camera as she wandered the island, her candid portraits of strangers, vernacular architecture and quotidian scenes reveal an invisible landscape within reach of the thriving metropolis of Manhattan. The neighborhoods that Osinski captured are devoid of the skyscrapers, swarms of pedestrians and choking masses of traffic that are a short ferry ride away. Instead, she captures kids riding bikes on open, empty streets, suburban homes with neatly tended yards and the small-town feel of New York’s least populous borough. Accompanying the series of images is an essay by Paul Moakley, Time magazine’s Deputy Director of Photography and Visual Enterprise.
Published by Um Yeah Arts. Foreword by Scott Hulet. Text by Thomas Campbell.
Seeing Fatima's Eyes is a new photographic essay by the self-taught painter, sculptor, photographer and filmmaker Thomas Campbell (born 1969), on surfing and life in Morocco. In the early 1990s, just prior to his immersion in the scene around New York's Alleged Gallery, Campbell would regularly hole up in the North African enclave to produce paintings for solo exhibitions in Paris, New York and Rabat, all the while scouring the coast during the winter months for whatever waves might roll in from the Atlantic. Later, over the last ten years, Campbell brought various surfers of note (such as Dan Malloy, Alex Knost, Craig Anderson, Dave Rastovich and Ryan Burch) to join him there, and to savor Morocco's glorious climate and stupendous surf. This book, the second in Campbell's Slide surfing series (following 2012's Slide Your Brains Out), records these collective Moroccan adventures from the past 20 years, in color and black-and-white images that range from the everyday to the sublime.
PUBLISHER Um Yeah Arts
BOOK FORMAT Hardcover, 6.75 x 9.75 in. / 144 pgs / illustrated throughout.
PUBLISHING STATUS Pub Date 3/24/2015 Active
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2014 p. 50
PRODUCT DETAILS ISBN 9780985361136TRADE List Price: $39.95 CDN $53.95
AVAILABILITY Out of stock
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
Published by Damiani. Text by Lyle Rexer, April M. Watson, Chris Malloy, Johnny Abegg.
Surf Site Tin Type is an homage to a sport, a way of life, and a tribute to the people who practice it. Over the past decade Brooklyn-based photographer Joni Sternbach has traveled around the world, creating tintype portraits of contemporary surfers using the nineteenth-century wet-plate collodion process. Stunning in their detail, these one-of-a-kind images evoke the romance and adventure of surfing, and the bold individualism of the men and women who live to ride the waves. Working with a large-format camera and using hand-poured plates that are prepared and developed on location, Sternbach has profiled a fascinating range of surfers, both well known and unknown, on prized surfing beaches. Locations include Montauk and Malibu in the United States, Byron Bay in Australia and Cornwall in England. Typical surfing photographs are action shots, riding the mighty wave and in vivid color, whereas Sternbach turns to a historic technique to capture something essential and even primordial in the portraits and settings, recalling a tradition of nineteenth-century anthropological photography. Surf Site Tin Type features texts by noted photo critic and historian Lyle Rexer, curator April M. Watson, and Chris Malloy and Johnny Abegg, both well-known surfers and filmmakers.
Published by Damiani/PUKA PUKA. Foreword by Gerry Lopez. Interview by Nathan Howe. Afterword by Drew Kampion.
John Severson (born 1933) revolutionized pop culture's vision of surfing and surf culture through his prolific artistic output that transverses decades and disciplines. He began his career as a painter, selling his canvases at Long Beach State College. These first works consisted of oil paintings, photographs, drawings and prints relating to Hawaiian and Californian surf culture. In 1958, Severson expanded his repertoire and created a series of popular surf movies, such as Surf Safari, Surf Fever, Big Wednesday and Pacific Vibrations. While his were among the first surf movies, it was the posters associated with them, hugely popular when issued in the 1950s and 1960s, that remain collector favorites today. Showcased in these early posters, his graphic skills translated easily to Surfer magazine, which he founded in 1960. The magazine was the first to celebrate and revolutionize the art and sport of surfing, establishing it as a powerful pop culture phenomenon. The first issue was a 36-page collection of black-and-white photos, cartoon sketches and short articles--every aspect of which was created by Severson himself. His photographs appeared in Life, Sports Illustrated, Paris Match and other print venues. John Severson's SURF explores Severson's surf odyssey through painting, photography, film and publishing. Featuring an interview with the artist by Nathan Howe, artist and curator at Puka Puka, Hawaii, foreword by Gerry Lopez, surfer and co-founder of Lightning Bolt surfboards and afterword by Drew Kampion, author and former editor of Surfer, John Severson's SURF documents the birth of surf culture and serves as a testament to our ocean.
Published by T. Adler Books. Introduction by Scott Hulet. Foreword by Jamie Brisick.
On the heels of 2006's hugely popular Surfing Photographs from the Seventies, T. Adler Books now releases the companion volume, Surfing Photographs from the Eighties Taken by Jeff Divine. The 1980s were a tumultuous period in surf history, as the "everything's groovy" communalism of the previous decade was blown apart into splinter groups. Professionals, rebels, punks and world travelers all banged the drum for their personal vision of surfing. The result was loud and vivid and drenched in fluorescence and neon. Photographer Jeff Divine was on the case, documenting the changes from surfing's twin power poles: southern California and the north shore of Oahu. Divine's access to these scenes, earned from 15 years on the sand and in the water, infuse this volume with authenticity, as an insider look into the period's most definitive moments. Christian Fletcher's strident aerial sorties; the first high-dollar sponsored contests; the west coast cool of Tom Curren; the back alley attitude of Sunny Garcia: Divine brought it all home on Kodachrome 64. And while Wall Street and Madison Avenue were doing their damnedest to monetize the style and freedom of surfing, the sublimity of the ride itself remained unsullied. Jeff Divine has been photographing surfing for 44 years, and has been the subject of three surf photography monographs. Among his previous books are Surfing Photographs from the Seventies (T. Adler, 2006).