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| | | | Alberto Venzago: Taking Pictures, Making PicturesText by Kai Hermann, Wim Wenders.
 Celebrity portraits, photojournalism and more from the legendary Swiss photographer and filmmakerFrom portraits of Andy Warhol, Jean-Luc Godard and Penélope Cruz to a voodoo ceremony in Benin; from scenes within the Pentagon to Indigenous people in the rainforests of Sarawak; from geishas in Tokyo to a lone iceberg in Antarctica: Alberto Venzago (born 1950) has seemingly had half the world in front of his Leica. Taking Pictures, Making Pictures presents nearly 200 images, many previously unpublished.
Perhaps the best example of Venzago’s rare talent is his images of the Tokyo Yakuza. The result of five years’ persistence on his part, and (in Wim Wenders’ words) his “optimistic sparkling laugh,” Venzago’s images of this secret world include private New Year’s Eve celebrations and Yakuza boss Masahiro Furushio’s office. Regardless of his subjects, from the oppressed and exploited to the rich and beautiful, this comprehensive book proves Venzago’s claim that “my studio is the world.”
Featured image is reproduced from 'Alberto Venzago: Taking Pictures, Making Pictures'. |
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FORMAT: Hbk, 9.5 x 12.5 in. / 264 pgs / 51 color / 143 b&w.
LIST PRICE: U.S. $55.00
LIST PRICE: CANADA $75
ISBN: 9783958295971
PUBLISHER: Steidl/Diogenes, Zurich
AVAILABLE: 9/28/2021
DISTRIBUTION: D.A.P.
RETAILER DISC: TRADE
PUBLISHING STATUS: Active
AVAILABILITY: In stock
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| Alberto Venzago: Taking Pictures, Making Pictures Published by Steidl/Diogenes, Zurich.
Text by Kai Hermann, Wim Wenders. Celebrity portraits, photojournalism and more from the legendary Swiss photographer and filmmaker From portraits of Andy Warhol, Jean-Luc Godard and Penélope Cruz to a voodoo ceremony in Benin; from scenes within the Pentagon to Indigenous people in the rainforests of Sarawak; from geishas in Tokyo to a lone iceberg in Antarctica: Alberto Venzago (born 1950) has seemingly had half the world in front of his Leica. Taking Pictures, Making Pictures presents nearly 200 images, many previously unpublished.
Perhaps the best example of Venzago’s rare talent is his images of the Tokyo Yakuza. The result of five years’ persistence on his part, and (in Wim Wenders’ words) his “optimistic sparkling laugh,” Venzago’s images of this secret world include private New Year’s Eve celebrations and Yakuza boss Masahiro Furushio’s office. Regardless of his subjects, from the oppressed and exploited to the rich and beautiful, this comprehensive book proves Venzago’s claim that “my studio is the world.”
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