Fotoclubismo: Brazilian Modernist Photography and the Foto-Cine Clube Bandeirante, 19461964
Edited with text by Sarah Hermanson Meister.
How a small photography club gave birth to modernist photography in Brazil
Published in conjunction with the first major museum exhibition of Brazilian modernist photography outside of Brazil, Fotoclubismo presents the groundbreaking creative achievements of Sćo Paulos Foto-Cine Clube Bandeirante, a group of amateur photographers founded in 1939 that is essentially unknown today to European and North American audiences. The vast majority of FCCB members pursued photography outside of their day jobs as lawyers, businessmen, accountants, journalists, engineers, biologists and bankers, but they were nonetheless quite serious about their artistic ambition. Their radical experimentations with process and form and their determination to distill inventive compositions from everyday life contributed to their esteemed reputation within an active international postwar scenea status that has been all but forgotten.
This richly illustrated publication assembles a robust selection of photographs to introduce the FCCBs photographic experiments to an international audience. Six chapters highlight individual achievements nestled between thematic groupings that suggest the breadth of the clubs talent. Curator Sarah Meisters essay situates the FCCB within the broader contemporary art scene in Brazil as well as a dynamic network of photographers around the world, and offers fresh insight into the status of the amateur then and now. This is the first non-Portuguese-language publication to grapple with these photographs that were widely heralded at the time of their creation.
Roberto Yoshidas nocturnal 1959 gelatin silver print, "Skyscrapers (Arranha-céus)," is reproduced from Fotoclubismo: Brazilian Modernist Photography and the Foto-Cine Clube Bandeirante, 19461964, the catalog to Sarah Hermanson Meisters eye-opening final exhibition as a MoMA curator, opening this weekend the Museum. Collecting the groundbreaking works of a mid-century Sćo Paulo amateur photography club that has been essentially unknown to European and North American audiences until today, this volume is enlightening, provocative and straight-up delightfulin addition to having one of the most beautiful cover designs on our Spring 2021 list. A wealth of archival materials and documentation of the clubs activities from its inception in 1939 until 1965 rounds out a deeply researched essay and almost 200 duotone reproductions. continue to blog
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FORMAT: Hbk, 9 x 10.5 in. / 184 pgs / 200 duotone. LIST PRICE: U.S. $45.00 LIST PRICE: CANADA $63 ISBN: 9781633450844 PUBLISHER: The Museum of Modern Art, New York AVAILABLE: 4/13/2021 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: NA ONLY
Fotoclubismo: Brazilian Modernist Photography and the Foto-Cine Clube Bandeirante, 19461964
How a small photography club gave birth to modernist photography in Brazil
Published by The Museum of Modern Art, New York. Edited with text by Sarah Hermanson Meister.
Published in conjunction with the first major museum exhibition of Brazilian modernist photography outside of Brazil, Fotoclubismo presents the groundbreaking creative achievements of Sćo Paulos Foto-Cine Clube Bandeirante, a group of amateur photographers founded in 1939 that is essentially unknown today to European and North American audiences. The vast majority of FCCB members pursued photography outside of their day jobs as lawyers, businessmen, accountants, journalists, engineers, biologists and bankers, but they were nonetheless quite serious about their artistic ambition. Their radical experimentations with process and form and their determination to distill inventive compositions from everyday life contributed to their esteemed reputation within an active international postwar scenea status that has been all but forgotten.
This richly illustrated publication assembles a robust selection of photographs to introduce the FCCBs photographic experiments to an international audience. Six chapters highlight individual achievements nestled between thematic groupings that suggest the breadth of the clubs talent. Curator Sarah Meisters essay situates the FCCB within the broader contemporary art scene in Brazil as well as a dynamic network of photographers around the world, and offers fresh insight into the status of the amateur then and now. This is the first non-Portuguese-language publication to grapple with these photographs that were widely heralded at the time of their creation.
