Published by D.A.P./Verlag der Buchhandlung Walther König. Edited by Ralph Goertz. Text by Joel Meyerowitz, Jörg Sasse, Ralph Goertz.
Alongside William Eggleston, Stephen Shore, Joel Sternfeld and Mitch Epstein, New York–born and bred Joel Meyerowitz is one of the most important representatives of the New Color Photography movement of the 1960s and 70s. This retrospective traces his entire oeuvre, from his street photography to his light experimentations made during "the blue hour" in Cape Cod, and includes famous series such as Cape Light, After September 11: Images from Ground Zero, Legacy: The Preservation of Wilderness in New York City Parks, in addition to the artist's much-loved early work—his first trip to Europe in 1967, and his concurrent transition from black and white to color—which has been much less widely published. Though Meyerowitz admired Henri Cartier-Bresson and Robert Frank, and shares their uncanny ability to grasp a human being on the street as both an individual and a representative of a larger social context, his handling of space and composition consciously differs from that of his idols, his framing less synchronized, the moments he captures, interestingly, less perfect. This square hardback volume compiles the artist's iconic images, and is an essential addition to any photography book collection.
Joel Meyerowitz (born 1938) is an award-winning photographer whose work has appeared in over 350 exhibitions in museums and galleries throughout the world. The New York native began photographing the streets in 1962 and by the mid-60s became an early advocate of color photography who was instrumental in transforming a general resistance to color film into an almost universal acceptance.
Published by Aperture/Fundación MAPFRE. Text by Marta Dahó, Sandra S. Phillips, Horacio Fernández. Interview by David Campany.
Stephen Shore has had a significant influence on multiple generations of artists and photographers. Even for the youngest photographers working today, his work remains an ongoing and indisputable reference point. Stephen Shore: Survey includes over 250 images that span Shore's impressive and productive career. The images range from 1969 to 2013, with series such as Early Works, Amarillo, New York City, American Surfaces and Uncommon Places, among others. Stephen Shore: Survey elucidates Shore's contributions, as well as the historiographical interpretations of his work that have influenced photographic culture over the past four decades. The narrative of the catalogue is conceptualized around three particularly revealing aspects of Shore's work, including his analysis of photographic and visual language, his topographical approach to the contemporary landscape and his significant use of color within a photographic context. The images are accompanied by an interview between David Campany and Shore, as well as texts by Sandra S. Phillips, Marta Dahó and Horacio Fernández. Published for his first ever retrospective exhibition, this essential catalogue also features a complete bibliography and chronology. Stephen Shore (born 1947) had his work purchased by Edward Steichen for The Museum of Modern Art, New York, at age 14. At 17, Shore was a regular at Andy Warhol's Factory, producing an important photographic document of the scene, and in 1971, at the age of 24, he became the first living photographer since Alfred Stieglitz to have a solo show at the Metropolitan Museum of Art. He has had numerous one-man shows, including those at The Museum of Modern Art, New York; George Eastman House, Rochester, New York; the Hammer Museum, Los Angeles; and the Art Institute of Chicago. Since 1982, he has been director of the photography program at Bard College, Annandale-on-Hudson, New York, where he is the Susan Weber Professor in the Arts.
PUBLISHER Aperture/Fundación MAPFRE
BOOK FORMAT Hardcover, 11.75 x 9.5 in. / 300 pgs / 250 color.
PUBLISHING STATUS Pub Date 12/31/2014 No longer our product
DISTRIBUTION Contact Publisher Catalog:
PRODUCT DETAILS ISBN 9781597113090TRADE List Price: $65.00 CDN $75.00
Published by Damiani. Preface by Bret Easton Ellis.
Chateau Marmont on Sunset Boulevard in Los Angeles is a fantastical folly in the land of make-believe. As Harry Cohn, the founder of Columbia Pictures, said in 1939, “If you must get in trouble, do it at the Chateau Marmont.” Several generations of actors, directors, writers and artists have heeded Cohn’s advice, from Dorothy Parker and F. Scott Fitzgerald to Hunter S. Thompson and Jim Morrison. The hotel has provided a refuge where both partying and privacy are equally available--where you can hole up to write a script or ride your motorcycle through the hotel lobby (as Led Zeppelin once did). James Dean climbed through a window of the hotel to audition with Natalie Wood for Rebel Without a Cause; Jean Harlow and Clark Gable conducted an illicit affair there; Jim Morrison used up what he called “the eight of my nine lives” when he fell off its roof; and celebrities from Greta Garbo to Howard Hughes have taken up extended residence within its hallowed walls. Asleep at the Chateau pays homage to this fabled place by picturing its quieter moments. Here, photographer Jork Weismann portrays a range of celebrities asleep at the Chateau--among them Bret Easton Ellis, Kirsty Hume, Patti Smith, Orlando Bloom, Juergen Teller, Sally Singer and Justin Theroux. Sprawled out in chairs, on couches or across the floor, Weismann’s subjects reveal both themselves and the Chateau as they have never before been portrayed.
Matthew Brandt creates his work using physical elements from the depicted subject. Inspired by landscape photography of the American West and alternative photograph processes developed during photography's infancy in the mid-nineteenth century, the artist revives traditional photographic techniques through various production processes. Whether soaking prints in water from the depicted lake, printing on paper made from the subject tree or even using a pigment created from the subject, Brandt blurs the line between the photograph and the photographed. For his series Lakes and Reservoirs, Brandt photographs lakes and reservoirs in the western United States, and then submerges each resulting C-Print in water collected from the subject of the photograph. Prints are soaked for days or weeks or even months, and this process impacts the layers of color that comprise the image. Brandt removes the print once it reaches its desired look, which can range from mostly representational to completely abstract. The Lakes and Reservoirs series considers the current condition not only of our lakes and reservoirs, but also of traditional color photography.
In December 2011, Forbes named Matthew Brandt (born 1982) one of tomorrow's "brightest stars," in the article "30 Under 30: Art & Design." Brandt's work is included in the collections of The Metropolitan Museum of Art, New York; J. Paul Getty Museum, Los Angeles; National Gallery of Art, Washington, D.C.; Brooklyn Museum, New York; Cincinnati Art Museum; Los Angeles County Museum of Art; Hammer Museum, Los Angeles; Royal Danish Library, National Museum of Photography, Copenhagen; and the Columbus Museum of Art, among others. Brandt was born in California and received his BFA from Cooper Union and his MFA from UCLA. The artist currently lives and works in Los Angeles.
Published by Damiani/Alleged Press. Edited by Aaron Rose. Text by Jeffrey Deitch, Michael Mann.
Self-taught Italian photographer Gusmano Cesaretti (born 1944) was one of the very first photographers to document the street culture of East Los Angeles, and The Thrill Is Gone is a retrospective history of his celebrated photographic work of the 1970s. Chapters include “Bikers,” “East L.A. Diary,” “Folsom Prison,” “Maria Sabina,” “Muscle Beach” and “Street Writers,” along with selected other iconic images from this important time in the photographer’s creative history. As a boy growing up in Italy, Cesaretti listened to jazz and rock ’n’ roll on the radio, and was drawn to the worlds of Marlon Brando and James Dean in Hollywood movies. But when he arrived in the U.S.--Cesaretti has lived in Los Angeles since 1970--it was the raw energy, graffiti, culture and people of East L.A. that seduced him. His early work--featured here in the chapter “East L.A. Diary”--documents his immersion in the low-rider subculture of the Klique car club. Cesaretti credits his poor English with allowing him to earn the trust of local residents--he found it hard to understand their graffiti on his own and had to ask for help. Independent curator Aaron Rose describes him as “one of the few true artists documenting outlaw cultures in the tradition of Robert Frank.”
The result of three years of work in California's Central Valley, Katy Grannan's new series The 99 features large-scale color portraits and black-and-white photographs. Grannan's recent photographs are set in the parched landscape and forgotten towns along Highway 99, including Modesto, Fresno and Bakersfield. In her intensely vivid color portraits, the artist works at midday when the sun is direct and the heat is unrelenting, presenting each individual, often simultaneously heroic and vulnerable, against stark, white backgrounds. In the black-and-white photographs, many of her subjects re-appear on Modesto's South 9th Street and along the banks of the Tuolumne River. Everyday rituals, small interactions and moments of beauty on the fringes of society are depicted in detail, conferring significance to what is often overlooked. This large-format, two-volume, slipcased monograph gathers this series for the first time. Katy Grannan (born 1969) has published three previous monographs: Model American, The Westerns and Boulevard. Her photographs are included in the collections of the Whitney Museum of American Art, The Metropolitan Museum of Art, The Museum of Modern Art, New York, the Guggenheim Museum, New York, the San Francisco Museum of Modern Art and the Los Angeles County Museum of Art, among others. Grannan lives and works in Berkeley, CA.
PUBLISHER Fraenkel Gallery
BOOK FORMAT Slip, Paperback, 2 vols, 12 x 15 in. / 160 pgs / 44 color / 26 bw.
PUBLISHING STATUS Pub Date 4/30/2014 Out of stock indefinitely
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2014 p. 52
PRODUCT DETAILS ISBN 9781881337386TRADE List Price: $65.00 CDN $87.00 GBP £57.00
Published by Damiani. Edited by Michael Schmelling. Introduction by Marin Hopper.
Drugstore Camera feels like a stumbled-upon treasure, a disposable camera you forgot about and only just remembered to develop. Yet in this case the photographer is Dennis Hopper and the photographs, remarkably, are never before published. Shot in Taos, New Mexico, where Hopper was based following the production of Easy Rider in the late 60s, the series was taken with disposable cameras and developed in drugstore photo labs. This clothbound collection documents Hopper's friends and family among the ruins and open vistas of the desert landscape, female nudes in shadowy interiors, road trips to and from his home state of Kansas and impromptu still lifes of discarded objects. These images, capturing iconic individuals and wide-open Western terrain, create a captivating view of the 60s and 70s that combines political idealism and optimism with California cool. Dennis Hopper (1936–2010) was born in Dodge City, Kansas. He first appeared on television in 1954 and quickly became a cult actor, known for films such as Rebel Without a Cause (1955), Easy Rider (1969), The American Friend (1977), Apocalypse Now (1979), Blue Velvet (1986) and Hoosiers (1986). In 1988 he directed the critically acclaimed Colors. Hopper was also a prolific photographer and published now-classic portraits of celebrities such as Andy Warhol and Martin Luther King Jr. His works are housed in The Metropolitan Museum of Art, New York; The Museum of Modern Art, New York and Los Angeles County Museum of Art, among others.
Published by Hatje Cantz. Text by Christoph Schreier, Giesela Parak, Stephan Berg.
Mitch Epstein (born 1952) is among America's finest contemporary photographers. Two of the most powerful series upon which his reputation rests are Recreation (1973-1988) and American Power (2003), sequences that attempt to make fundamental statements about the U.S. by scrutinizing how its citizens spend their leisure and how its energy industry operates. This publication examines the development of Epstein's work through the example of these two very different series. Recreation exemplifies traditional American street photography in its sometimes ironized depiction of everyday circumstances, where American Power critiques the energy industry and its interventions in nature in much bolder gestures--cooling towers and oil refineries dominate the picture frame, riding roughshod over all rules of proportion and dwarfing anything in their vicinity. Here, in 80 color images selected from these series, Epstein's development is traced, from major protagonist of the American color photography boom to leading commentator on the state of the nation.
The greater Los Angeles area covers 4,850 square miles--the size of a small country--and holds almost 18 million people. Perhaps America’s largest human creation, it has been vilified and celebrated in equal measure since its inception. Is L.A. the face of the apocalypse, or an ultimate paradise at continent’s edge--or both? With LA Day/LA Night, photographer Michael Light continues his aerial examination of the arid American West by bringing together two opposing views of the city in a double-volume set. LA Day stares directly into the sun, which blasts the metropolis in a relentless and specific light. LA Night drifts over the city as it grows darker, and begins to resemble the starry sky vaulted above. Referencing Ed Ruscha, Peter Alexander, Julius Schulman and writers from Philip K. Dick to Raymond Chandler, LA Day/LA Night continues Los Angeles’s rich cultural legacy of examining its favorite schizophrenic subject--itself.