Published by Aperture. Introduction and text by Julia Van Haaften.
In this redesigned and expanded version of a classic Aperture book, the work of Berenice Abbott (1898–1991) is introduced by historian Julia Van Haaften, and includes new, image-by-image commentary and a chronology of this artist's life. An innovative documentary photographer, Abbott pioneered the depiction of scientific subject matter and photographed the fast-changing landscape of her times. Abbott studied journalism for a year in Ohio before moving to New York in 1918 to study sculpture, where she met Marcel Duchamp and Man Ray. She later moved to France in the 1920s and worked for Ray in his portrait studio before setting out on her own. Her portraits captured many individuals associated with avant-garde art movements, including author James Joyce and artist Max Ernst. Moving back to New York at the end of the decade, she began her renowned Changing New York series (later published as a book in 1939) and went on to become picture editor for Science Illustrated.
Published by Steidl. Edited by Ron Kurtz, Hank O’Neal. Text by Ron Kurtz, Hank O’Neal.
The five comprehensive volumes of The Unknown Berenice Abbott present hundreds of unseen and till now unpublished images from the sweep of Berenice Abbott's seminal career. New York--Early Work contains rare images of New York after the Wall Street Crash of 1929 made by Abbott with a small hand-held camera as sketches for large format photographs. The American Scene showcases photographs from Abbott's journeys through America in 1933, 1934 and 1935, hardly seen since that time. Deep Woods presents Abbott's 1943 and 1967 images of the Red River Logging Company in California's High Sierra Mountains, her first such documentary project. Greenwich Village collects for the first time the spectrum of Abbott's photographs of Manhattan's beloved Lower West Side neighborhood, her home when she left Ohio in 1918 and again in the mid-1930s. Finally, U.S. 1, U.S.A., including Abbott's first experimental work in color, records her ambitious trip down the length of U.S. Route 1 in 1954, a precursor to Robert Frank's The Americans.
Fascination with the scientific advances that were rapidly changing the world motivated Berenice Abbott to use photography as the friendly interpreter of science. Documenting Science explores this work, beginning in 1939 with Abbott's early experiments with scientific imagery, continuing with science-based commercial assignments, and culminating in 1958 with the Physical Science Study Project at MIT which illustrated a new series of physics text books. This spectacular body of work is arguably Abbott's most innovative and creative. Both beautiful and instructive, these images often illustrate some basic scientific principle. They are a marriage of science and art, and have fundamentally changed the way thousands of students visualize complex principles of physics.
This is one in a series of books to be published by Steidl that will explore Berenice Abbott's oeuvre. Abbott began her photographic career in Paris in 1925, taking portraits of some the most celebrated artists and writers of the day, including Marie Laurencin, Jean Cocteau, Peggy Guggenheim and James Joyce. Within a year her work was exhibited and acclaimed. Paris Portraits 1925–30 features the results of Abbott's earliest photographic project and illustrates the philosophy of all her subsequent work. For this landmark book, 115 portraits of 83 subjects have been scanned from the original glass negatives, the full negatives have been printed and a die-cut overleaf presents each portrait incorporating Abbott's cropping instructions.
Published by Aperture. Photographs by Berenice Abbott.
Berenice Abbott first established herself in commercial portraiture in Paris and later in New York. Besides creating masterful bodies of work on the changing face of New York, scientific phenomena, Route 1 and Maine, Abbott was an inventor of photographic equipment, a pioneer in the teaching of photographic techniques and the first person to champion the work of the turn-of-the-century French photographer Eugène Atget.