PHOTOGRAPHER MONOGRAPHS

PUBLISHER
Damiani

BOOK FORMAT
Hardcover, 9.75 x 12.5 in. / 280 pgs / 40 color / 110 bw.

PUBLISHING STATUS
Pub Date
Active

DISTRIBUTION
D.A.P. Exclusive
Catalog: FALL 2016 p. 52   

PRODUCT DETAILS
ISBN 9788862084949 TRADE
List Price: $75.00 CDN $99.00

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In stock

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DAMIANI

James Moore: Photographs 1962-2006

Edited by Nicolas Moore. Text by Martin Harrison, Holly Brubach.

James Moore: Photographs 1962-2006American fashion photographer James Moore (1936–2006) was an influential voice in mid-20th-century fashion photography, working for Harper’s Bazaar during its 1960s heyday under the leadership of legendary editor Carmel Snow. Shooting languid mod gamines and luxe bohemians in arresting, often surreal or cinematic compositions, Moore helped shape the visual vocabulary of ‘60s fashion alongside better-known colleagues such as art director Alexey Brodovitch (under whom Moore studied). Moore also directed television commercials and contributed photographs to European magazines in the 1980s and 1990s, and taught photography at the School of Visual Arts, New York, and the Rochester Institute of Technology.

Every Moore photograph is an intricate exploration of space and beauty, with an attention to detail that betrays the photographer’s peerless eye. Something of a “photographer’s photographer,” Moore influenced the next generation of great fashion photographers but has been somewhat neglected in histories of 1960s fashion and culture--until now. James Moore: Photographs 1962-2006 collects a half century of extraordinary photographs by Moore, the first time his work has been collected in a single monograph. Including texts from the leading editors, models, photographers and designers of the day, this volume takes stock of James Moore’s astounding career and an extraordinary cultural moment.

Featured image is reproduced from 'James Moore: Photographs 1962-2006.'

PRAISE AND REVIEWS

New York Journal of Books

Jeffrey Felner

James Moore, the book, is a dazzling and yes, astonishingly and sensationally assembled chronicle of one of the greatest fashion photographers of the last half of the 20th century.

James Moore: Photographs 1962-2006

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FROM THE ARTBOOK BLOG

ANNA SKRABACZ | DATE 4/26/2017

James Moore: Photographs 1962-2006

James Moore: Photographs 1962-2006

Looking at the breadth of fashion photographer James “Jimmy” Moore’s work you might wonder why his name doesn’t sound more familiar, given its signature poise and 60s glamour. But a quick Google search reveals the astonishing fact that Moore is a complete ghost on the Internet. During his lifetime (1936–2006), he worked under the famed Richard Avedon—Diane von Furstenberg herself sorted his photographs with white gloves—and yet somehow James Moore does not even boast his own Wikipedia page. Luckily for us, Damiani's long-awaited, beautifully-printed new monograph, edited by Moore’s son Nicolas, introduces Moore to the digital generation.
continue to blog


FROM THE ARTBOOK BLOG

CORY REYNOLDS | DATE 4/26/2017

He helped define 60s style. James Moore.

He helped define 60s style. James Moore.

In 1960, after stints working with Alexey Brodovich and Richard Avedon, James Moore opened his own studio. In 1962, he began to photograph for Harper's Bazaar under art director Marvin Israel. At the time, Andy Warhol was making photo-booth portraits for the magazine, and Diane Arbus was publishing her early portraits. It was the heyday of American fashion photography. Though Moore was integral to the look of the magazine throughout the 60s, today his work is largely unknown outside fashion circles. At last, Damiani's oversized, 280 page James Moore retrospective is here to set the record straight! continue to blog


FROM THE ARTBOOK BLOG

CORY REYNOLDS | DATE 4/27/2017

The iconic fashion photography of James Moore

The iconic fashion photography of James Moore

Fashion photography lovers, rejoice! This week, we release the first major monograph on 1960s Harper's Bazaar mainstay, James Moore (1936-2006). Holly Brubach writes, "In their graphic fascination, Jimmy's photos resonate with the strong currents that were sweeping the culture: Op art, Pop art, a vibrant new energy, a rejection of the etiquette and understatement that had hallmarked the 1950s. 'Models had been standing in a very classic pose,' he recalled. He and his contemporaries were 'trying to break that mold and find another body language,' he claimed. They succeeded. In Jimmy's photos, particularly those that focus on legs and shoes, the feet are often turned in, like a pigeon-toed child's—a position that in retrospect typified the sixties, with its fixation on youth, its Flower Power innocence, its miniskirts, its wide eyes outlined in black. continue to blog


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