ARTBOOK LOGO

ARTBOOK BLOG

RECENT POSTS

DATE 2/17/2020

'Joyful Designs: Rediscovering the Textiles of Marguerita Mergentime' at Palm Springs Modernism

DATE 2/9/2020

Artbook @ Hauser & Wirth LA Bookstore presents Christopher Frayling and Tony Nourmand on 'French New Wave: A Revolution in Design'

DATE 2/8/2020

Artbook @ Hauser & Wirth LA Bookstore presents Christopher Frayling on 'Once Upon a Time in the West'

DATE 2/1/2020

Preview our reading list for Black History Month, 2020!

DATE 2/1/2020

Artbook @ Hauser & Wirth LA Bookstore presents 'The Promise' and 'Forgotten Journey' panel

DATE 2/1/2020

Join us at SHOPPE OBJECT 4.0 Independent Home & Gift Show, Winter 2020!

DATE 2/1/2020

Celebrate Black History with 'Gordon Parks: Muhammad Ali'

DATE 1/27/2020

'Keld Helmer-Petersen: Photographs 1941–2013' is a revelation

DATE 1/25/2020

In 'Nadav Kander: The Meeting,' something more than just this moment

DATE 1/25/2020

Graphing living matter: 'Charles Gaines: Palm Trees and Other Works'

DATE 1/25/2020

The Outwardness of Art: Thomas Evans on Adrian Stokes at SVA

DATE 1/24/2020

A new, expanded edition of Joel Sternfeld's seminal 'American Prospects'

DATE 1/23/2020

All Hail 'Choupette by Karl Lagerfeld'

DATE 1/21/2020

Artbook @ Hauser & Wirth LA Bookstore presents 'Imaginary Museums' author Nicolette Polek

DATE 1/21/2020

The ultimate book on Danish Lights of the last century

DATE 1/20/2020

We honor Dr. Martin Luther King, Jr. with Lee Friedlander's 'Prayer Pilgrimage for Freedom'

DATE 1/19/2020

Celebrate Martin Luther King with 'Builder Levy: Humanity in the Streets'

DATE 1/18/2020

Honoring Dr. Martin Luther King Jr. with 'Jill Freedman: Resurrection City, 1968'

DATE 1/17/2020

BACK IN STOCK! Jean-Michel Othoniel's 'Secret Language of Flowers' in the Louvre

DATE 1/16/2020

'Djanira: Picturing Brazil' is new from MASP!

DATE 1/15/2020

Exquisite activism in David Benjamin Sherry's 'American Monuments'

DATE 1/15/2020

Shannon Taggart, Mira Ptacin and Alex Mar in conversation at Powerhouse Arena

DATE 1/15/2020

Pieter Hugo signing 'La Cucaracha' at Dashwood Books

DATE 1/14/2020

Jonny Trunk on 'Wrappers Delight' — it had to become a book.

DATE 1/11/2020

From turnip stew to sticky toffee baked donuts, "A House with a Date Palm Will Never Starve"

DATE 1/11/2020

'Mike Kelley: Timeless Painting' is the first major monograph on the artist's influential and audacious paintings

DATE 1/10/2020

Anthology Film Archives launch event for Jonas Mekas's 'I Seem to Live' NY Diaries

DATE 1/10/2020

'Vice' calls 'The New Woman's Survival Catalog' facsimile a sprawling, energetic, joyful map of the feminist movement of the early 1970s

DATE 1/9/2020

NEW! 'The Making of Husbands: Christina Ramberg in Dialogue'

DATE 1/8/2020

In 'Marsden Hartley: The Earth Is All I Know of Wonder,' everything is tectonic, object-y and potent

DATE 1/7/2020

Free embrace of the unknown in 'Ira Cohen: Into the Mylar Chamber'

DATE 1/6/2020

Michael Rakowitz book launch and conversation at Jane Lombard Gallery

DATE 1/6/2020

Quentin Tarantino on his 'Once Upon a Time ... in Hollywood' inspiration

DATE 1/2/2020

A new monograph on Margaret Kilgallen, hero of the hand

DATE 1/2/2020

'Objects of Desire: Surrealism and Design' is itself a powerful object

DATE 12/31/2019

Happy New Year from Artbook | D.A.P.!

DATE 12/27/2019

A remarkable facsimile edition of the first Bauhaus exhibition catalog, 1923

DATE 12/27/2019

Faith Ringgold proves 'Anyone can fly, all you gotta do is try'

DATE 12/25/2019

Happy Holidays from Artbook | D.A.P.!

DATE 12/22/2019

'Nan Goldin: The Other Side' is a Critic's Pick, pretty much everywhere

DATE 12/21/2019

'Tarsila do Amaral: Cannibalizing Modernism' is one of Roberta Smith's Best Art Books of 2019 for the NY Times

DATE 12/20/2019

A landmark first major monograph on nonagenarian surrealist Luchita Hurtado

DATE 12/20/2019

NEW! Matthew Wong: Blue

DATE 12/17/2019

'Moving to Mars: Design for the Red Planet' is a Strategist Most Giftable Coffee-table Book 2019!

DATE 12/17/2019

Presenting the Artbook | D.A.P. Spring 2020 Catalog!

DATE 12/17/2019

David Benjamin Sherry signing 'American Monuments' at Deep Vellum Books, Dallas

DATE 12/17/2019

Andrew Lampert to launch 'Tony Conrad: Writings' at Artbook @ Hauser & Wirth LA Bookstore

DATE 12/16/2019

Mitch Epstein's 'Sunshine Hotel' is one of Luc Sante's top Holiday Gift Books for the NY Times

DATE 12/15/2019

From Michael Jang and Atelier Éditions, sophisticated and surprising coffee table gold

DATE 12/15/2019

Warren Neidich to launch "Glossary of Cognitive Activism" and Armen Avanessian to launch "Future Metaphysics" at Artbook @ Hauser & Wirth LA Bookstore

DATE 12/14/2019

Atelier Editions' vibrant 'An Atlas of Rare & Familiar Colour' is a Staff Pick Holiday Gift Book 2019


BOOKS IN THE MEDIA

CORY REYNOLDS | DATE 10/24/2014

New York Times Reviews Paul Strand’s Lifetime of Photography at Philadelphia Museum

In today's New York Times, Karen Rosenberg praises the Philadelphia Museum's "elegant and convincing reappraisal" of this defining figure in twentieth century photography. For those who can't make it to Philadelphia (and even those who can), we recommend the new, expanded edition of Aperture's classic monograph, which contains an introduction and image-by-image commentary by Peter Barberie, curator of the Philadelphia retrospective. Below are a selection of images from the book, alongside Barberie's captions.

New York Times Reviews Paul Strand’s Lifetime of Photography at Philadelphia Museum
Rebecca, New York, ca. 1921

In 1919 Strand began experimenting with a large-format view camera, and by 1921 it was his chief instrument. This represented a fundamental change in his work: he now exclusively made contact prints the same size as the 8-by-10-inch negatives, bringing a clarity and sharp focus that he would come to view as essential to photography. At this time he began to photograph his new love, Rebecca Salsbury, whom he would marry in 1922. Undoubtedly influenced by Stieglitz’s contemporaneous portraits of Georgia O’Keeffe, which he deeply admired, Strand’s portraits of Rebecca are nonetheless a distinct achievement. When making them he was motivated by the important problem (in his thinking) that photography is art made with a machine. The Rebecca pictures, of which this is one of the most tender examples, suspend the camera’s cool objectivity in marvelous tension with the vital subjective presence of both model and artist.

New York Times Reviews Paul Strand’s Lifetime of Photography at Philadelphia Museum
City Hall, St. Elmo, Colorado, 1931

Strand made multiple photographs of this city hall in a Colorado ghost town. He was fascinated by its role as a symbol of civic order imposed on what he imagined as the unruly frontier. (St. Elmo had been a gold mining town founded in the 1880s.) This photograph of the building is made stranger than the others by its tilted composition and cropped view of the structure’s lower story, which succinctly conveys the scene’s deserted nature and past life. One can imagine the mayor or sheriff of St. Elmo emerging through the door to address the populace from his elevated stage.
Text appears infrequently in Strand’s photographs. When it does, it is typically in the form of sparse, emblematic signs announcing an important quality of the subject, as in this view or his earlier photograph "Blind Woman, New York." In both Strand uses vantage, cropping, and scale to show us more than the words announce, so we sense the humanity of the blind peddler, and the character and history of this erstwhile civic building.

New York Times Reviews Paul Strand’s Lifetime of Photography at Philadelphia Museum
Akeley Camera with Butterfly Nut, New York, 1923

In 1922 Strand acquired an Akeley movie camera with the intention of producing commercial films for a living, which he did successfully for more than a decade. The Akeley was the invention of Carl Akeley, an adventurer and taxidermist who designed dioramas at New York’s Museum of Natural History and who wanted a film camera with the mobility to capture wild animals in motion. Strand loved the Akeley, in part because it was produced in a small shop in New York City by a handful of skilled craftsmen, putting a human touch on the machine age that he wanted to tackle in his art. Between 1922 and 1923 he used his view camera to make a small series of precise and elegant records of both it and the shop where it was made.

New York Times Reviews Paul Strand’s Lifetime of Photography at Philadelphia Museum
Blind Woman, New York, 1916

In 1917, a year after first publishing Strand’s photographs in Camera Work, Stieglitz combined the journal’s last two issues and devoted them entirely to Strand’s newest work, including his abstractions and the anonymous street portraits he made in New York City. Among the eleven images Stieglitz published, "Blind Woman" is undoubtedly the most riveting because of the stark message emblazoned across the figure’s chest. The woman stands against a granite wall; as viewers, we are so close that we have little choice but to observe her neat appearance under the armor of her sign, medallion (a peddler’s license), and heavy coat.


New York Times Reviews Paul Strand’s Lifetime of Photography at Philadelphia Museum
Woman and Boy, Tenancingo, Mexico, 1933

In Mexico Strand resumed making anonymous portraits, using a prism lens that was more sophisticated than the false lens he had used in 1916. Roaming the streets of towns and villages with his Graflex camera, he waited until people were accustomed to his presence. Sometimes they looked directly at the camera, watching Strand as he appeared to photograph another subject nearby.
Far from snapshots, these photographs take in details of textiles and other objects, and they often show figures in quiet moments, regardless of their public surroundings. In both subject and format they resemble the work of the pioneering Scottish photographers David Octavius Hill and Robert Adamson, whose portraits Strand revered. His willingness to adhere closely to the work of earlier artists—in a sense, to explore it fully from the inside out by making similar pictures—is a notable quality of his photography. Capable of piercing originality, he was uninterested in novel subjects or compositions for their own sake, whereas he was willing to work ever further into a formula or motif that he found successful.

New York Times Reviews Paul Strand’s Lifetime of Photography at Philadelphia Museum
The Stone Wall, Stockburger’s Farm, East Jamaica, Vermont, 1944

If the elegant neoclassical buildings of New England formed a compelling subject for Strand, so did the hard, intractable materiality of the place. He shows us this portion of stone wall in contrast with the sinuous hillock beyond it. Snow and light define every rock, so that we see the labor of the wall’s construction and comprehend the significance, at once modest and assertive, of its mark on the landscape.

New York Times Reviews Paul Strand’s Lifetime of Photography at Philadelphia Museum
White Fence, Port Kent, New York, 1916

Strand continued to make abstractions in late 1916 and 1917, but he expanded the scope of the pictures to involve landscapes and urban scenes. He justly considered "White Fence, Port Kent" among his most complete statements on such abstraction. Not disorienting in the manner of his still-life experiments, it simply organizes the planes of the picture into divergent diagonal lines and basic shapes of white, black, and gray. But above all it is an unforgettable representation of the American homestead, viewed from a distance as if by an outsider, or by someone returning. Its concise arrangement of forms imparts all the brevity and power of a masterful short story.

New York Times Reviews Paul Strand’s Lifetime of Photography at Philadelphia Museum
Young Boy, Gondeville, Charente, France, 1951

The French author Michel Boujut wrote a poignant book tracing this young man’s story. The wonder of Strand’s photograph is that we do not need to know it. The boy stands before us, resentful with impatience and the certainties of youth. We are amazed at his beauty, and we fear that he does not understand his power. What can we do? Words would not help. He would not listen, and we can be no closer to him than we are in this photograph.

Paul Strand: Aperture Masters of Photography

Paul Strand: Aperture Masters of Photography

APERTURE
Hbk, 8 x 8 in. / 96 pgs / 42 duotone.




ARTBOOK LOGO
 
 

the art world's source for books on art & culture

  

CUSTOMER SERVICE
orders@artbook.com
212 627 1999
M-F 9-5 EST

TRADE ACCOUNTS

800 338 2665

CONTACT

JOBS + INTERNSHIPS

NEW YORK
Showroom by Appointment Only
75 Broad Street, Suite 630
New York NY 10004
Tel   212 627 1999

LOS ANGELES
Showroom by Appointment Only
818 S. Broadway, Suite 700
Los Angeles, CA 90014
Tel. 323 969 8985

ARTBOOK LLC
D.A.P. | Distributed Art Publishers, Inc.


All site content Copyright C 2000-2017 by Distributed Art Publishers, Inc. and the respective publishers, authors, artists. For reproduction permissions, contact the copyright holders.

ARTBOOK AMPERSAT

The D.A.P. Catalog
www.artbook.com