Published by Damiani/Crump. Foreword by James Crump. Text by Fulvio Ferrari, Napoleone Ferrari, Silvio Curto.
In a career that spanned more than four decades, Carlo Mollino designed buildings, homes, furniture, cars and aircraft. One of the most dashing figures of mid-century Italy, Mollino was famed for his design finesse and his elegant organicism. In 1949 he published an important book on photography: Message from the Darkroom. Sometime around 1960, he began to seek out women-mostly dancers-in his native Turin, inviting them to his villa for late-night modeling sessions. The models would pose against extraordinary backdrops, designed by Mollino, in clothing, wigs and accessories that he had carefully selected. Finally, having printed the Polaroids, Mollino would painstakingly amend them with an extremely fine brush, to attain his idealized vision of the female form. The pictures, which totaled around 1,200, remained a secret until after his death, in 1973. Only a few were ever publically shown, until the acclaimed first edition of this volume was published by James Crump in 2002. Reviewing that book, The New Yorker declared, "This lavish selection of several hundred Polaroids preserves the essential mystery of a project both decadent and hermetic. Though clearly the product of a deep obsession, the photographs are deliberately impersonal, each baroque detail an invitation for the viewer to imagine Mollino's encounters with the women." Now back in print, with a newly designed cover, this beautiful volume offers a captivating portrait of a unique erotic sensibility. Carlo Mollino (1905-1973) studied mechanical engineering, art history and architecture before working in the architectural practice of his father, Eugenio Mollino, in Turin. His first architectural masterpiece was the Turin Equestrian Association headquarters (1937). In 1965 he designed the Teatro Regio in Turin, which is now regarded as one of his best works. A 1949 Mollino table was sold at auction by Christie's in 2005 for a staggering $3.8 million. In 1960-68 he designed an enigmatic apartment for himself that today has become the Museo Casa Mollino.
Published by Aperture. Edited by James Crump. Text by James Crump, Mark Godfrey, Thomas Seelig. Interview by Eva Respini.
Hugely influential among contemporary art photographers, James Welling has created beautiful and uncompromising photographs for more than 35 years. Operating in the hybrid ground between painting, sculpture and traditional photography, Welling is first and foremost a photographic practitioner enthralled with the possibilities of the medium. James Welling: Monograph provides the most thorough presentation of the artist’s work to date. Since the mid-1970s, Welling’s work has explored realism and transparency, abstraction and representation, optics and description, personal and cultural memory, and the material and chemical nature of photography. To date, the artist has been the subject of numerous catalogues addressing his more than 25 bodies of work. Yet no previous book has attempted to link these works and examine the primary threads that run through them all. Sumptuously produced, this volume presents a large selection of recent series, from 2000 through to the present, interspersed with important early and iconic works made in the preceding decades. James Crump, Chief Curator of the Cincinnati Art Museum contributes an extensive introductory essay. Also included are text contributions by Mark Godfrey and Thomas Seelig, plus an interview with Eva Respini, Associate Curator in the Department of Photography at MoMA. James Welling has exhibited extensively both nationally and internationally. An earlier survey exhibition, James Welling: Photographs, 1974–1999, originated at the Wexner Center for the Arts in Columbus, Ohio, and traveled to the Museum of Contemporary Art in Los Angeles and the Baltimore Museum of Art. In 1999 he received the DG Bank-Forder Prize in Photography from the Sprengel Museum in Hannover, Germany. Solo exhibition venues include Regen Projects, Los Angeles; David Zwirner, New York; Maureen Paley, London; Galerie Nelson-Freeman, Paris; Wako Works of Art, Tokyo; Donald Young Gallery, Chicago, and Galerie Nächst St. Stephan, Vienna. Welling is professor in the UCLA Department of Art, where he has taught for more than 15 years, and a visiting professor at Princeton University.
BOOK FORMAT Hardcover, 9.5 x 11 in. / 256 pgs / illustrated throughout.
PUBLISHING STATUS Pub Date 3/31/2013 No longer our product
DISTRIBUTION Contact Publisher
PRODUCT DETAILS ISBN 9781597112093TRADE List Price: $80.00 CDN $95.00
Published by Damiani/Crump. Edited by James Crump. Text by Kevin Moore.
Los Angeles–based photographer Elena Dorfman’s latest body of work presents American rock quarries as geologic phenomena, both conceptually and representationally. In Dorfman’s epic tableaux, the ancient sedimentation and erosion found at these sites form the basis for her complex and highly layered compositions. “I manipulate and reconstruct the landscape,” she says, “reassembling the pictures just as the oldest rock begins at the bottom and works its way up to the surface.” Empire Falling presents the abandoned and active quarries of the Midwest in Indiana, Kentucky and Ohio. Executed over the course of several years, Dorfman’s images record both the minute and radical workings of nature, as these spaces give way to human intervention and exploitation.
Published by Goliga. Edited by Ivan Vartanian. Text by Valerie Steele, Tim Blanks, Philip Delamore, Stella Bruzzi. Conversations with Manolo Blahnik, Nicholas Kirkwood, James Crump.
The high-heeled shoe conjures self-assured allure and erotic intoxication like no other item of women's wear. Just recently the high heel has undergone a massive resurgence in popularity, in part reinventing itself through an overt invoking of fetish, with which the heel has of course always had some relationship. Built around a selection of images of heels from contemporary photography, High Heels: Fashion, Femininity and Seduction explores the confluence of art, fashion and fetish in the cult of high heels swooping down the fashion show runways and city streets everywhere. Illustrated with works from photographers such as Guy Bourdin, Juergen Teller, Bettina Rheims, Marilyn Minter, Tim Walker, Steven Klein, David Lachapelle and Vanessa Beecroft, among many others, High Heels also includes several important texts: an essay by Valerie Steele on the industry forces behind high-heel design; Tim Blanks of Style.com interviews Manolo Blahnik and Nicholas Kirkwood; Philip Delamore describes the technological developments behind the extreme contours of recent shoe design; Stella Bruzzi on high heels, gender, and representation in film; and an introduction by Ivan Vartanian, in conversation with James Crump, discusses the high heel as a vehicle for discussing a fetish for photography in general. High Heels is a visual odyssey through the powerful ideas of beauty, danger and seduction that the high heel evokes.
BOOK FORMAT Hardcover, 9.5 x 11.5 in. / 192 pgs / 120 color.
PUBLISHING STATUS Pub Date 1/31/2012 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2011 p. 178
PRODUCT DETAILS ISBN 9781935202691TRADE List Price: $49.95 CDN $60.00
Published by Hatje Cantz. Edited and with text by James Crump.
Walker Evans (1903–1975) is, without doubt, one of the most influential American photographers ever, and many of his images have become fixed in the collective memory. But while Evans’ uncompromising depiction of poverty during the Great Depression of the 1930s, the subject of a series commissioned by the Farm Security Administration, has become a key chapter in the history of photography, his equally innovative images from later decades have generally commanded less attention. Back in print, this bilingual monograph attempts to redress the balance by examining Evans’ complete body of work, and features many rarely seen photographs, including his final works, a sequence of Polaroids shot in the early 1970s (a sequence made possible by an unlimited supply of film from its manufacturer). Evans’ re-ascendancy in the 1970s and his relationship with legendary Museum of Modern Art curator John Szarkowski are also closely examined, in this essential and definitive volume on a great photographer who certainly achieved his aim to produce pictures that were “literate, authoritative, transcendent.”
Published by Hatje Cantz. Edited and text by James Crump.
Walker Evans (1903–1975) is, without doubt, one of the most influential American photographers ever, and many of his images have become fixed in the collective memory. But while Evans' uncompromising depiction of poverty during the Great Depression of the 1930s, the subject of a series commissioned by the Farm Security Administration, has become a key chapter in the history of photography, his equally innovative images from later decades have generally commanded less attention. This exciting new monograph attempts to redress the balance by examining Evans' complete body of work, and features many rarely seen photographs, including his final works, a sequence of Polaroids shot in the early 1970s (a sequence made possible by an unlimited supply of film from its manufacturer). Evans' re-ascendancy in the 1970s, and his close relationship with legendary Museum of Modern Art curator John Szarkowski, are also closely examined, in this essential and definitive volume on a great photographer who certainly achieved his aim to produce pictures that were “literate, authoritative, transcendent.”Born in St. Louis, Missouri, Walker Evans (1903–1975) took up photography in 1928. His book collaboration with James Agee, Let Us Now Praise Famous Men (1941), which portrayed the lives of three white tenant families in southern Alabama during the Depression, has become one of that era's most defining documents. Evans joined the staff of Time magazine in 1945, and shortly after moved to Fortune magazine, where he stayed until 1965. That year, he became a professor of photography at the Yale University School of Art. Evans died at his home in Old Lyme, Connecticut, in 1975.
Published by Hatje Cantz. Edited and text by Kevin Moore. Essays by James Crump, Leo Rubinfien.
It is hard to imagine today that the artistic value of color photography was once questioned and controversial, even as recently as the 1980s. William Eggleston's watershed exhibition at The Museum of Modern Art, New York, in 1976, generated plenty of scorn and confusion, as spectators struggled to accept his seemingly ordinary-looking color images of Southern life as art. Early photographs by Stephen Shore, Helen Levitt, Joel Meyerowitz and others received similarly hostile or ambivalent reviews. Color photography also had opponents within photography, most notoriously in Henri Cartier-Bresson. But as color processes both diversified and grew more sophisticated, and further approaches to the medium developed, the floodgates were opened wide. Starburst examines the first great practitioners of artistic color photography in the United States: Eggleston, Shore, Levitt, Meyerowitz, plus Joel Sternfeld, William Christenberry, John Divola, Mitch Epstein, Jan Groover, Robert Heinecken, Barbara Kasten, Les Krims, Richard Misrach, John Pfahl, Leo Rubinfien, Neal Slavin, Eve Sonneman and many more. Grounded in reviews of sources from the 1970s, and with an abundance of images, this survey makes a thorough assessment of this paradigm shift in the history of art photography.