| | BOOK FORMAT
Clth, 9.75 x 10.75 in. / 192 pgs / 49 color / 96 duotone. PUBLISHING STATUS
Pub Date 7/4/2023
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Catalog: SPRING 2023 p. 29 PRODUCT DETAILS
ISBN 9781636810973 TRADE
List Price: $55.00 CAD $77.00 GBP £47.00 AVAILABILITY
In stock | TERRITORY
WORLD | EXHIBITION SCHEDULEAtlanta, GA
High Museum of Art, 03/24/23–08/13/23
Kansas City, MO
Nelson-Atkins Museum of Art, 09/16/23–02/11/24 | | THE FALL 2025 ARTBOOK | D.A.P. CATALOG  | | Preview our FALL 2025 catalog, featuring more than 500 new books on art, photography, design, architecture, film, music and visual culture.
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| | | Evelyn Hofer: Eyes on the CityEdited with text by Gregory J. Harris, April M. Watson. Foreword by Rand Suffolk, Julián Zugazagoitia. Text by Brandi T. Summers.
 How Hofer used the photobook form to chronicle American and European cities in an era of postwar transformationEvelyn Hofer was a highly innovative photographer whose prolific career spanned five decades. Despite her extraordinary output, she was underrecognized during her lifetime and was notably referred to by New York Times art critic Hilton Kramer as “the most famous unknown photographer in America.” She made her greatest impact through a series of photobooks, published throughout the 1960s, devoted to European and American cities, including Florence, London, New York, Washington and Dublin, and a book focused on the country of Spain.
Comprising more than 100 photographs in both black and white and color, Eyes on the City accompanies the artist’s first major museum exhibition in the United States in over 50 years and is organized around her photobooks. The photographs feature landscapes and architectural views combined with portraiture, conveying the unique character and personality of these urban capitals during a period of intense structural, social and economic transformations after World War II.
Evelyn Hofer (1922–2009) was born in Germany and moved to New York in 1946. She was an early adopter of color photography and published assignments for many major magazines including Vogue and Harper's Bazaar. Hofer collaborated with authors such as Mary McCarthy and V.S. Pritchett on several books, including The Stones of Florence (1959), London Perceived (1962) and Dublin: A Portrait (1967). She died in Mexico City.
"Girl, Barcelona" (1963) is reproduced from 'Evelyn Hofer: Eyes on the City.'PRAISE AND REVIEWSAperture These images showcase her humane vision and technical virtuosity. Wall Street Journal William Meyers Makes clear why Hofer was not a celebrity in her own time but should be now. i-D Sara Rosen Searching for the transcendent resplendence of the mundane, the mystical truth of place that allows viewers to feel as though they are there, Evelyn elevated scenes of the everyday to the realm of fine art. Guardian Sean O'Hagan Makes clear that Hofer was a formally brilliant photographer of people, places, environments and objects. Looking at her colour portraits of ordinary people in 1960s Dublin and New York, it’s difficult to think of any other photographer who so evoked the atmosphere of those cities while creating images that are so rigorous and richly hued. Air Mail Elena Clavarino Elegant, carefully staged photographs...a milestone book. New York Review of Books Walker Mimms Hofer showed, in her unflinching portraits and velveteen landscapes, that cities and people exist for each other. |
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| | FROM THE ARTBOOK BLOG CORY REYNOLDS | DATE 8/15/2023 “Girl with Bicycle, in the Coombe, Dublin” (1966) is reproduced from Evelyn Hofer: Eyes on the City, published to accompany the critically-acclaimed exhibition originating at the High Museum of Art, now en route to the Nelson-Atkins Museum of Art for a September 16 opening. Organized around Hofer’s renowned but often overlooked photobooks and reviewed this week in the New York Review of Books, this is the first major American museum exhibition in more than 50 years. “Through her remarkable books, Hofer pioneered a quietly lyrical manner of photography that eschews visual tricks or contrived drama,” High Museum curator Gregory J. Harris writes. “This openness to her subjects’ inherent gravitas and to the richness of a prosaic setting comes through in one of her most striking portraits, that of a young girl posed at an empty intersection in the Coombe in Dublin. The young Dubliner stands on her tiptoes, over¬whelmed by a bike that is several sizes too large for her, a drawn expression on her face. There was no need for Hofer to impose an agenda on the situation to conjure a poignant visual experience. She remem-bered, ‘It is all just right the way it is: the clouds and the sadness.’ Though she was impeccably inten¬tional in making her photographs, she seemed to feel very little need to overly orchestrate them and was masterful at turning the most mundane situations into discretely poetic records of what was simply there before her camera.” continue to blogFROM THE ARTBOOK BLOG CORY REYNOLDS | DATE 8/15/2023“Girl with Bicycle, in the Coombe, Dublin” (1966) is reproduced from Evelyn Hofer: Eyes on the City, published to accompany the critically-acclaimed exhibition originating at the High Museum of Art, now en route to the Nelson-Atkins Museum of Art for a September 16 opening. Organized around Hofer’s renowned but often overlooked photobooks and reviewed this week in the New York Review of Books, this is the first major American museum exhibition in more than 50 years. “Through her remarkable books, Hofer pioneered a quietly lyrical manner of photography that eschews visual tricks or contrived drama,” High Museum curator Gregory J. Harris writes. “This openness to her subjects’ inherent gravitas and to the richness of a prosaic setting comes through in one of her most striking portraits, that of a young girl posed at an empty intersection in the Coombe in Dublin. The young Dubliner stands on her tiptoes, over¬whelmed by a bike that is several sizes too large for her, a drawn expression on her face. There was no need for Hofer to impose an agenda on the situation to conjure a poignant visual experience. She remem-bered, ‘It is all just right the way it is: the clouds and the sadness.’ Though she was impeccably inten¬tional in making her photographs, she seemed to feel very little need to overly orchestrate them and was masterful at turning the most mundane situations into discretely poetic records of what was simply there before her camera.” continue to blog | |  | DelMonico Books/High Museum of Art/The Nelson-Atkins Museum of ArtISBN: 9781636810973
USD $55.00 | CAD $77 UK £ 47Pub Date: 7/4/2023
Active | In stock
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|  | SteidlISBN: 9783958296329
USD $58.00 | CAD $85Pub Date: 1/23/2024
Active | Out of stock
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|  | Steidl/Galerie m, BochumISBN: 9783958295636
USD $65.00 | CAD $90Pub Date: 4/23/2019
Active | Out of stock
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