Foreword by Carles Guerra, Marta Gili. Text by Ariella Azoulay, Eduardo Cadava, Carles Guerra, Marianne Hirsch, Kristen Lubben, Isin Onol, Pia Viewing.
“For me, the essence of documentary photography has always been to do with evidence.” —Susan Meiselas
A member of Magnum Photos since 1976, Susan Meiselas became known for her work in the conflict zones of Central America in the 1970s and '80s and for the strength of her color photography. Covering many subjects and countries, from war to human-rights issues and from cultural identity to the sex industry, Meiselas uses photography, film, video and sometimes archive material, as she relentlessly explores and develops narratives integrating the participation of her subjects in her works. Meiselas constantly questions the photographic process and her role as witness.
Presenting a selection of works from the 1970s through the present day, Susan Meiselas: Mediations retraces her trajectory from the 1970s to the present. Published to accompany a major traveling retrospective of the photographer’s work, it features an illustrious list of contributors that includes Ariella Azoulay, Eduardo Cadava and Kristin Lubben, among others.
Susan Meiselas (born 1948) studied at Sarah Lawrence College and Harvard University, taking up photography in the early 1970s. She is credited with being one of the first to work with color in documentary photography, a controversial decision when she was shooting the conflict in Nicaragua in the late 1970s. Meiselas joined Magnum Photos in 1976 and has worked as a freelance photographer since then.
Featured image is reproduced from 'Susan Meiselas: Mediations.'
PRAISE AND REVIEWS
Juxtapoz
Using photography, film, video, and archive material, Meiselas presents a comprehensive narrative of the subjects in her work, constantly raising questions about the role of the photographer as a witness and the subject as a participant.
New York Magazine
Morgan Sykes
if you can’t make it to see her genre-defining photographs in person, pick up the book and look behind the scenes of one of America’s photographic living legends.”
Dazed
Clara Hernanz
Meiselas remains an inspiration for any self-conscious photographer. At the centre of her work is a perpetual discussion around the purpose and relevance of photography, the use and distribution of images and their effects on history and memory.
Huck
Sara Rosen
a meditation on the threads that weave the complex tapestry of Meiselas’ career.
Mother Jones
Mark Murrmann
Exceptional, giving a taste of the breadth of her work.
Hyperallergic
Emily Wilson
Mediations shows the range of Meiselas’s subjects, from carnival strippers, girls in her Little Italy neighborhood in New York (the “Prince Street Girls”), a refuge for women in England, and the aftermath of the Kurdistan genocide in 1991.
PDN's Notable Photo Books of 2018
Mediations brings together a selection of series from the 1970s to the present, calling attention to Meiselas’s photographic approach and her lifelong commitment to engage in a “cycle of return” with her subjects, going back to the communities she has photographed and sharing the work with them.
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Wednesday, May 23 from 7-9 PM, Magnum photographer Susan Meiselas will appear in conversation with visual artist Ann Hamilton, LIVE from the NYPL in the Wachenheim Trustees Room at the main branch of the New York Public Library at 42nd Street & 5th Avenue. continue to blog
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FORMAT: Hbk, 7 x 9.5 in. / 184 pgs / illustrated throughout. LIST PRICE: U.S. $35.00 LIST PRICE: CANADA $47.5 ISBN: 9788862085694 PUBLISHER: Damiani AVAILABLE: 3/27/2018 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: NA LA
“For me, the essence of documentary photography has always been to do with evidence.” —Susan Meiselas
Published by Damiani. Foreword by Carles Guerra, Marta Gili. Text by Ariella Azoulay, Eduardo Cadava, Carles Guerra, Marianne Hirsch, Kristen Lubben, Isin Onol, Pia Viewing.
A member of Magnum Photos since 1976, Susan Meiselas became known for her work in the conflict zones of Central America in the 1970s and '80s and for the strength of her color photography. Covering many subjects and countries, from war to human-rights issues and from cultural identity to the sex industry, Meiselas uses photography, film, video and sometimes archive material, as she relentlessly explores and develops narratives integrating the participation of her subjects in her works. Meiselas constantly questions the photographic process and her role as witness.
Presenting a selection of works from the 1970s through the present day, Susan Meiselas: Mediations retraces her trajectory from the 1970s to the present. Published to accompany a major traveling retrospective of the photographer’s work, it features an illustrious list of contributors that includes Ariella Azoulay, Eduardo Cadava and Kristin Lubben, among others.
Susan Meiselas (born 1948) studied at Sarah Lawrence College and Harvard University, taking up photography in the early 1970s. She is credited with being one of the first to work with color in documentary photography, a controversial decision when she was shooting the conflict in Nicaragua in the late 1970s. Meiselas joined Magnum Photos in 1976 and has worked as a freelance photographer since then.
