Published by D.A.P./Koenig. Edited by Thomas Zander. Text by David Campany, Heinz Liesbrock, Jerry L. Thompson.
Walker Evans shot the photographs collected in Labor Anonymous as an assignment for Fortune magazine, which published a small selection of 20 images in its November 1946 issue, under the title "On a Saturday Afternoon in Detroit." Until now, however, the entire series of 50 photographs has never been reproduced. Evans’ extraordinary serial studies of the facial expressions and postures of Detroit workers walking the city’s streets are fascinating both as portraiture and as a surprising dimension of his photographic style. Shooting passersby against a plywood backdrop as they crossed his field of vision from distant right to close left (some noticing him, most not), with the light striking and modeling their features, Evans found that what he was creating with these images was "the physiognomy of a nation." This book compiles the photographs, contact sheets, small-version printlets, Evans’ annotations to newspaper clippings, drafts for an unpublished text, telegrams and every available print Evans made, along with the Fortune spread as published. Labor Anonymous captures a long-vanished moment in American history, and a crucial project in Evans’ oeuvre. Born in St. Louis, Missouri, Walker Evans (1903–75) took up photography in 1928. His book collaboration with James Agee, Let Us Now Praise Famous Men (1941), which portrayed the lives of three white tenant families in southern Alabama during the Depression, has become one of that era’s most defining documents. Evans joined the staff of Time magazine in 1945, and shortly after moved to Fortune magazine, where he stayed until 1965. That year, he became a professor of photography at the Yale University School of Art. Evans died at his home in Old Lyme, Connecticut, in 1975.
Published by Spector Books. Edited by Marc Roig Blesa, Binna Choi, Rogier Delfos, Yolande van der Heide. Text by Marina Vishmidt.
365 Days of Invisible Work contains 365 images collected and compiled by the Domestic Worker Photographer Network. Members of this open network took photographs of themselves and others as gardeners, dishwashers, domestic workers, mothers, interns, artists and illegal immigrants—generating a collective and political representation of domestic space and work as seen through the eyes of contemporary amateur photographers.
365 Days of Invisible Work is the third edition of the Werker Magazine series initiated by the founders of the Werker Collective, Marc Roig Blesa and Rogier Delfos. It was conceived as part of the Grand Domestic Revolution, a “living research” project by Casco – Office for Art, Design and Theory, Utrecht, that ran from 2009/10–12. The Werker Collective’s practice is inspired by the Worker Photography Movement of the 1920s and ’30s, and looks into ways of reactivating the movement’s working methodologies, based on self-representation, self-publishing, image analysis and collective learning processes.
In Pirelli Work, taken at the famous tire manufacturer's plant, UK photographer Chris Killip (born 1946) documents the factory setting and the workers. One of the novelties of this work is in the lighting: the photographer mimicked fashion techniques, illuminating his subjects with three or four lights triggered by remote control, plus a light held on a pole away from the camera. "The workplace had become, in a real sense for me, a theater," he has said, "I embraced the look of these new photographs with their relation to fashion, film noir, and even Soviet Realism. For me this 'look' seemed a more telling way to record and document this enforced ritual." This clothbound monograph is the second edition of Pirelli Work, which was first published in 2006.
Published by Lars Müller Publishers. By Andreas Seibert.
High-population centers of enormous size are springing up in China with dizzying speed. With them comes an increased demand for migrant workers in the construction sector, factories, and mines. In growth centers like the Pearl River Delta in Southern China, 40 million people have already set out from the underdeveloped provinces to earn their living there. The photographer Andreas Seibert accompanied the workers repeatedly in order to document their everyday lives and their journey to the high-population centers. Their stories are told in a collection of striking photographs that provide a close-up portrait to complement the current discussion of economic growth in China. Accompanying the photographs are texts by two Chinese authors, who researched the social and economic background of the phenomenon and provide a direct look. With its combination of text and images, this volume conveys a unique impression of the scale of this modern migration of peoples.
Published by Steidl. Contributions by Phillip Van Niekerk, Brenda Goldblatt.
After On the Mines, The Transported of KwaNdebele is the second of David Goldblatt's books to be redesigned and expanded by the artist for Steidl Publishers. Dating originally from 1989, it talks about the workers of an apartheid tribal homeland for blacks, KwaNdebele, which has no industry, very few opportunities for jobs and is a long way from the nearest industrial-commercial activity of white-controlled Pretoria. Workers from KwaNdebele catch buses in the very early morning, some as early as 2:45 am, in order to be at their workplaces in Pretoria by 7:00. At the end of the day they repeat the journey in the other direction, to get home at between 8 and 10 pm. Goldblatt takes us on their bone-jarring journeys through the night, which is a metaphor for their arduous struggle toward freedom itself. In photographs devoid of sentimentality and artifice, the grim determination of these people to survive and overcome emerges in almost heroic terms. Brenda Goldblatt, filmmaker and writer, interviewed some of the bus-riding workers who endured not only these journeys but a civil war precipitated by the apartheid government's attempt to foist a kind of independence on KwaNdebele--a condition which would have made the workers foreigners in the land of their birth, South Africa, and thus deprived them of their limited right to work there. Interviews with contemporary (2012) bus-riders fill out the account. Phillip van Niekerk, former editor of the Mail & Guardian, provides an essay on KwaNdebele, its place in the logic of "grand apartheid" and its half-life in post-apartheid South Africa.
On 31 August 1935, Alexej Stakhanov, a jackhammer operator at Central-Irmino coal mine, mined a record 102 tons of coal in five hours and forty-five minutes (fourteen times his daily quota). The launch of an unprecedented state-run campaign for popularizing extraordinary labor achievements made Stakhanov a Soviet preeminent hero. Soon after, his portrait appeared on the cover of Time. For the first time a laborer had been elevated to worldwide fame for his performance at work. Since then the term "Stakhanovism" has defined ecstatic labor and professional over-accomplishment as a form of heroism. On the 74th anniversary of Stakhanov's achievement, Gleb Kosorukov undertook a photographic research project on the identity of modern miners as an archetype of the working class, affected by the changing value of material labor and the decline of social justice. Kosorukov took 100 portraits of miners during shift changes at the largest mine in Europe, located in the eastern Ukraine, which bears the name of Stakhanov. Due to the neoliberal pressure of global capitalism and the radical changes in the nature of the labor market, Ukrainian mines are closing apace; more than 100,000 miners stand to lose their jobs within the next five years. Kosorukov's work examines what remains of the minermyth in the image of the worker-heroes of today.
From desolate dirt roads to bustling city streets, Norwegian photographer Sigbjørn Sigbjørnsen has documented the byways and digressions of taxi drivers and their cabs. This publication surveys 20 years of the artist's work, which has taken him to 74 countries on all continents, providing a colorful portrait of the ways in which we get around.
Published by Primary Information. Edited by Alison Knowles, Annea Lockwood. Text by Beth Anderson, Ruth Anderson, Jackie Apple, Barbara Benary, Sari Dienes, Bici Forbes, Simone Forti, Wendy Greenberg, Heidi Von Gunden, Françoise Janicot, Christina Kubisch, Carol Law, Mary Lucier, Lisa Mikulchik, Pauline Oliveros, Takako Saito, Carolee Schneemann, Mieko Shiomi, Elaine Summers, Carole Weber, Ann Williams, Julie Winter, Marilyn Wood.
In 1975, Alison Knowles (born 1933), founding member of Fluxus, and experimental composer Annea Lockwood (born 1939) co-edited and self-published Womens Work, a magazine of text-based and instructional scores written by women primarily for music and dance performance. The magazine appeared in two issues between 1975 and 1978. This superb facsimile edition, comprising a book and poster housed in a printed folder, gathers the work from both issues, by artists Beth Anderson, Ruth Anderson, Jackie Apple, Barbara Benary, Sari Dienes, Bici Forbes, Simone Forti, Wendy Greenberg, Heidi Von Gunden, Françoise Janicot, Christina Kubisch, Carol Law, Mary Lucier, Lisa Mikulchik, Pauline Oliveros, Takako Saito, Carolee Schneemann, Mieko Shiomi, Elaine Summers, Carole Weber, Ann Williams, Julie Winter and Marilyn Wood. This is an important reissue, collecting as it does works in a field whose “classics” are typically confined to male-dominated publications.
PUBLISHER Primary Information
BOOK FORMAT Slip, pbk, 8.25 x 8.25 in. / 33 pgs / 1 poster.
PUBLISHING STATUS Pub Date 6/18/2019 Out of stock indefinitely
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2019 p. 159
PRODUCT DETAILS ISBN 9781732098657SDNR40 List Price: $24.00 CDN $31.00
Published by Contemporary Art Museum St. Louis. Edited by Kate Wagner. Essays by Paul Ha and Catherine Morris.
When curators at Saint Louis's Contemporary Art Museum asked Cindy Sherman whether there was a moment in her career whose resonance might be underappreciated, one around which she might like to develop an exhibit and a book, she selected her earliest adult creative years, beginning while she was still a student at Buffalo State College in the mid-1970s. Working Girl is full of rarely seen pieces, and it features, for the first time, documentation of and stills from Sherman's 1975 animated short Doll Clothes, which is among the pieces that bring Sherman's early exploration of gender and identity into focus. The mostly small-scale work, including many early black-and-white, hand-colored, and sepia-toned photographs, is culled primarily from the artist's family members' collections and her own, and includes the pieces that laid the groundwork for her first major success, the acclaimed Film Stills series. Working Girl is a unique glimpse into the early development of Sherman's artistic practice, and into the genesis of her inimitable substance and style. It illuminates her conceptual approach to photography and foretells the career that would be launched in the late 1970s, positioning her as one of the most significant artists of our time.