Published by Candela Books. Introduction by James L. Enyeart. Text by Shelby Lee Adams, Catherine Evans.
Shelby Lee Adams first encountered the communities of the Appalachian mountains as a child, while accompanying his doctor uncle on his rounds. In the mid-1970s he started to photograph in the region, using a 4 x 5 camera, gaining and building a special trust among its often impoverished people, who have tended to not always welcome would-be documentarians. Adams not only records their lives and hardships with great empathy, but also depicts the grace and humanity of his subjects, photographing with an ease evident in the results. Salt and Truth is Adams' fourth monograph, and presents 80 new photographs taken mostly over the past eight years. The photographs in this collection are of children and animals, of working people and of a way of life rarely glimpsed by photographers.
Shelby Lee Adams (born 1950) is an American photographer renowned for his environmental portraiture, primarily in the Appalachian mountains of eastern Kentucky. Adams' work has been featured in three monographs: Appalachian Portraits (1993), Appalachian Legacy (1998) and Appalachian Lives (2003). In 2010 he was awarded a Guggenheim Fellowship. Adams' work is represented in many major permanent collections, including the Art Institute of Chicago; the International Center of Photography in New York; Musee De L'Elysee Lausanne in Switzerland; The Museum of Modern Art, New York; The National Gallery of Canada, Ottawa; Stedelijk Museum, Amsterdam; Time Life Collection, New York; Victoria and Albert Museum, London; and the Whitney Museum of American Art, New York. Adams was also the subject of a 2002 documentary film by Jennifer Baichwal, The True Meaning of Pictures: Shelby Lee Adams' Appalachia.
Published by D.A.P.. Edited by Corey Keller. Text by Julia Bryan-Wilson, Jennifer Blessing.
Published with San Francisco Museum of Modern Art.
Artists who arrive fully formed at a young age always dazzle, and Francesca Woodman was one of the most gifted and dazzling artist prodigies in recent history. In 1972, the 13-year-old Woodman made a black-and-white photograph of herself sitting at the far end of a sofa in her home in Boulder, Colorado. Her face is obscured by her hair, light radiates from an unseen source behind her out at the viewer through her right hand. This photograph typifies much of what would characterize Woodman's work to come: a semi-obscured female form merging with or flailing against a somewhat bare and often dilapidated interior. In an oeuvre of around 800 photographs made in just nine years, Woodman performed her own body against the textures of wallpaper, door frame, baths and couches, radically extending the Surrealist photography of Man Ray, Hans Bellmer and Claude Cahun and creating a mood and language all her own. In the 30 years since her untimely death, Woodman has gained a following among successive generations of artists and photographers, a testament to her work's undeniable immediacy and enduring appeal Amid a renewed intensification of interest in Francesca Woodman, this volume is published for a major touring exhibition of her photographs and films at the San Francisco Museum of Modern Art and the Guggenheim. Containing many previously unpublished photographs, it is the definitive Francesca Woodman monograph. Francesca Woodman (1958-1981) was born in Denver, Colorado, to the well-known artists George and Betty Woodman. In 1975 she attended the Rhode Island School of Design, and in 1979 she moved to New York, to attempt to build a career in photography. In 1981, at the age of 22, she committed suicide.
Published by Damiani. Edited by Okwui Enwezor. Introduction by Toni Morrison, Ford Morrison. Text by Hal Foster.
James Casebere (born 1953) emerged in the Pictures Generation as an artist-photographer complicating the status of the photographic image alongside Cindy Sherman and Richard Prince. His earliest works dismantled the codes of American suburbia and the myth of the west, but he quickly arrived at the practice for which he is best known today: the construction of formally simplified architectural models--arenas, monasteries, tunnels, factories--which Casebere lights and photographs in his studio. In the early 1990s, as the ramifications of Michel Foucault's critiques of architecture and power took hold in American culture, Casebere's practice developed into a study of architectural typologies of the Enlightenment era, particularly prisons. The lighting in his photographs is dramatic, or rather it plays with the rhetoric of dramatic lighting, qualified by the sheer artifice of the architectural models themselves. Edited by Okwui Enwezor, this major mid-career survey includes several of Casebere's lesser-known early works, as well as previously unreproduced sculpture and photographs from 1975 to 2010. Enwezor contributes both an introduction and a conversation with the artist. The volume also contains essays by Hal Foster and Toni Morrison. James Casebere: Works 1975-2010 is the most comprehensive monograph to date on this important American artist.
Published by Walker Art Center. Edited by Siri Engberg. Interview by Bartholomew Ryan. Text by Geoff Dyer, Barry Schwabsky, Britt Salvesen, Siri Engberg, August Kleinzahler.
From Here to There: Alec Soth's America is the first exhibition catalogue to feature the full spectrum of the work of Alec Soth, one of the most interesting voices in contemporary photography, whose compelling images of everyday America form powerful narrative vignettes. Featuring more than 100 of the artist's photographs made over the past 15 years, the book includes new critical essays by exhibition curator Siri Engberg, curator and art historian Britt Salvesen and critic Barry Schwabsky, which offer context on the artist's working process, the photo-historical tradition behind his practice and reflections on his latest series of works. Novelist Geoff Dyer's "Riverrun"--a meditation on Soth's series Sleeping by the Mississippi--and August Kleinzahler's poem "Sleeping It Off in Rapid City" contribute to the thoughtful exploration of this body of work. Also included in the publication is a 48-page artist's book by Soth titled The Loneliest Man in Missouri, a photographic essay with short, diaristic texts capturing the banality and ennui of middle America's suburban fringes, with their corporate office parks, strip clubs and chain restaurants. This full-color publication includes a complete exhibition history, bibliography and interview with the artist by Bartholomew Ryan. Alec Soth was born in 1969 and raised in Minnesota, where he continues to live and work. He has received fellowships from the McKnight Foundation (1999, 2004) and Jerome Foundation (2001), was the recipient of the 2003 Santa Fe Prize for Photography and was short-listed for the highly prestigious Deutsche Börse Photography Prize. His first monograph, Sleeping by the Mississippi, was published in 2004 to critical acclaim. Since then Soth has published Niagara (2006), Fashion Magazine (2007), Dog Days, Bogotá (2007) and The Last Days of W (2008). He is a member of Magnum Photos.
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