Published by Hatje Cantz. Text by Johann Wolfgang von Goethe.
In the seventeenth and eighteenth centuries, an extended trip to Italy--“the land where the lemon trees blossom, the golden oranges glowing amid dark foliage,” as Goethe famously described it--was considered an indispensable part of a young gentleman’s education. On arduous coach journeys, these adventurous youths would travel to Florence, Venice, Rome and Naples, taking in the antiquities, the architecture and the landscape, receiving en route a practical education in Roman civilization. Johann Wolfgang von Goethe made his own odyssey south between 1786 and 1788. His Italian Journey vividly conveys the profound enthusiasm he experienced, but also captures insightful details of the well-organized, nascent Italian tourist industry. This large (13 by 19 inches), impressive volume features an array of Italian photographs from the nineteenth century, which depict the highlights of the Grand Tour in gelatin silver prints (some of which are gorgeously hand-colored). These historic images are interspersed with quotes from Goethe’s Italian Journey, and include poetical views of the wonders of Piazza San Marco, the Coliseum, a smoking Vesuvius and the fisherwomen of Capri.
Published by Damiani. Introduction by Joel Smith. Text by Orlando Luis Pardo Lazo.
American photographer Andrew Moore began photographing in Cuba in 1998, and over the next fourteen years he made ten further visits, working to reveal the many facets of the island’s unique character and life. In 2002, he published some of this work in Inside Havana, which is now out of print. This new edition includes many of Moore’s older classic images but reconceives its predecessor with a new layout and finer, larger reproductions. Cuba also features many older photographs never previously published, as well as new photographs made specifically for this edition. The afterword was especially commissioned for this edition from Orlando Luis Pardo Lazo, one of Cuba’s leading independent bloggers. Working with a large format camera, Moore insightfully records the shifting fortunes of Cuba, in superb photographs full of painterly light and dynamic color. His images span a tremendous variety of subjects, ranging from humble interiors to magnificent modernism, as well as portraits and landscapes. One theme introduced in this revised version is the contrast between the frayed patinas of Cuban homes and the great, unspoiled beauty of the island’s nature. Cuba is a stirring portrait of a country isolated from the globalized world, overflowing with its own remarkable riches. The photographs of Andrew Moore (born 1957) are represented in the collections of the Metropolitan Museum of Art, the Whitney Museum, Yale University Art Gallery, The Museum of Fine Arts Houston, the Library of Congress, the Israel Museum, the George Eastman House and the Canadian Centre for Architecture.
Published by Hatje Cantz. Foreword by Lucien Clergue, Paul Andrew. Text by Eva-Monika Turck.
Lucien Clergue first won fame for his photographs of nudes, whose sensual use of light and water playing upon torsos enthralled Pablo Picasso and Jean Cocteau, his lifelong mentors. Today he is closely identified with Arles and its environs in the south of France, which he has portrayed for more than a half-century in numerous images of traveling artists, gypsies, war ruins and graves, plants in the swamps of the Camargue, tracks in the sand and bullfighting scenes. Brasília is the first presentation of Clergue’s marvelous photographs of Brazil’s capital, taken in 1962–63, just a few years after the city was built--a body of work until recently believed to be lost. Brasilia was developed in 1956, with Lúcio Costa as the principal urban planner, Oscar Niemeyer as the principal architect and Roberto Burle Marx as the landscape designer. Clergue’s (mostly unpeopled) portrayals of the metropolis highlight the powerful, upward-sweeping curves of Niemeyer's architecture, while often leaving plenty of space to articulate the cool beauty of its emphatically modernist ambitions. Brasíliais a breathtaking celebration of the sublimity of a confident, optimistic architecture, and a crucial rediscovery in the history of architectural photography. The first photographer to be elected to the Académie des Beaux-Arts in France, Lucien Clergue (born 1934) has published more than 75 books and directed numerous films. His photographs are in the collections of numerous well-known museums and have been exhibited in more than 100 solo exhibitions worldwide, including at The Museum of Modern Art in New York (1961, the last exhibition organized by Edward Steichen). Museums with extensive inventory of photographs by Lucien Clergue include The Fogg Museum at Harvard University and the Museum of Fine Arts in Boston.
One of the foremost American photographers of the 20th century, Harry Callahan (1912–99) explored the expressive possibilities of both color and black-and-white photography from the outset of his career. Following his retirement from teaching at the Rhode Island School of Design in 1977, however, he decided to dedicate his practice exclusively to color and pursue travel to foreign locales. The 23 photographs in this publication, taken in Morocco in 1981, are the product of Callahan’s shift to a strictly chromatic palette and demonstrate his continued interest in the visual intrigue of the everyday urban landscape and the passersby who occupy it. Depicting his familiar subjects of architectural facades, random patterns of street activity and isolated figures lost in thought, the images transcend Morocco’s exoticism by exploring the formal and pictorial potential of the country’s environment.
Published by Shakespeare and Company Paris. Edited with introduction by Krista Halverson. Foreword by Jeanette Winterson. Epilogue by Sylvia Whitman.
A copiously illustrated history of the famed Rive Gauche Paris bookstore Shakespeare and Company, home to a literary circle of avant-garde Americans in Paris -- including Beat Generation writers Allen Ginsberg, Gregory Corso, and William S. Burroughs
PUBLISHER Shakespeare and Company Paris
BOOK FORMAT Hardcover, 6.25 x 9.5 in. / 384 pgs / 225 color.
PUBLISHING STATUS Pub Date 9/27/2016 Active
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2016 p. 7
PRODUCT DETAILS ISBN 9791096101009TRADE List Price: $34.95 CDN $45.95
AVAILABILITY In stock
in stock $34.95
UPS GROUND IN THE CONTINENTAL U.S. FOR CONSUMER ONLINE ORDERS
From Brassaï to William Klein: a luxurious homage to the world's most iconic subway
At over 300 pages and with around 250 images, this delightful volume looks at the close relationship between photography and the heyday of the Paris metro, covering over a century of photographic documents. The major figures of photography all snapped the Paris metro, from the humanists--Doisneau, Henri Cartier-Bresson, Brassaï, Boubat, Izis, Kollar, Ronis and more--to photojournalists such as Robert Capa, William Klein and Van der Keuken, in addition to the scores of photojournalists who passed through the city.
In 1900, as the first metro rolled from west to east across Paris, from Porte Maillot to Porte de Vincennes, photography had already been around for half a century. Turn-of-the-century technological advances had created smaller, lighter cameras--the first Kodaks--which introduced the practice to a wider market. As Parisians fell in love with their new mode of transport, photography became a more widespread pastime.
All genres and photographic practices are represented in this overview, from photojournalism to photo stories, street photography, fashion photography, architectural photography and industrial photography. The resulting volume is a magnificent and charming hybrid: a history of the fascinating development of the Paris metro--long a cultural symbol of France, Art Nouveau and urban technological innovation--in all its diversity, alongside a history of photography in Paris from the early 20th century to the present.
While travelling overland to India from Europe in the fall of 1971, Luke Powell ran into the war between India and Pakistan, and he spent the following winter in neighboring Afghanistan. Powell was stunned by the beauty of the country, the state of preservation of the culture, and by the Afghans' ability to be totally self-sustaining. He returned nearly every year until 1978, when he left the country three days before a Communist coup. Powell's ability to transform raw 35 mm film into refined printed images grew over a 15-year period, when he printed his work with the legendary Dye Transfer Process. The Afghan Folio exhibition travelled to over 120 museums and galleries in North America and Europe, during the years when the Russians were occupying Kabul. In early 2000 the Taliban government invited Luke Powell to come back to Afghanistan, and later that year the Northern Alliance allowed him to travel alone in areas under their control. Through 2003 Powell took photographs for the United Nations Demining Program for Afghanistan and other UN agencies. In Afghan Gold Luke Powell has tried to separate art from journalism and show only the beautiful, traditional side of Afghanistan. In the text, published in a separate volume, Powell acts as a spokesman for an essentially peace-loving people who have been at war for the last three decades, placing the images in an unusually broad historical context.
Published by Steidl. Text by Wolfgang Ullrich, Martin Hochleitner.
For 20 years Austrian photographer Lois Hechenblaikner (born 1958) has been photographing the fans at Austrian folk music festivals. On his travels he has visited more than 100 festivals, open-air concerts and fan gatherings. Hechenblaikner’s particular passion is for the people who undertake long journeys barring no expense, just to get that little bit closer to their idols. It’s a phenomenon which sociologist Gerhard Schulze describes as “Harmoniemilieu,” where the desire for a perfect world becomes one’s sole and strongest driving force. In Volksmusik Hechenblaikner explores the possibilities of large-format photography to create a typology of the public at folk-music festivals. With careful precision he documents the facial expressions, gestures and clothing of his various protagonists, revealing their psychologies and life stories.
Published by FUEL Publishing. Edited by Damon Murray, Stephen Sorrell. Foreword by Jonathan Meades. Text by Vera Kavalkova-Halvarsson, Christopher Herwig.
Photographer Christopher Herwig first noticed the unusual architecture of Soviet-era bus stops during a 2002 long-distance bike ride from London to St. Petersburg. Challenging himself to take one good photograph every hour, Herwig began to notice surprisingly designed bus stops on otherwise deserted stretches of road. Twelve years later, Herwig had covered more than 18,000 miles in 14 countries of the former Soviet Union, traveling by car, bike, bus and taxi to hunt down and document these bus stops. The local bus stop proved to be fertile ground for local artistic experimentation in the Soviet period, and was built seemingly without design restrictions or budgetary concerns. The result is an astonishing variety of styles and types across the region, from the strictest Brutalism to exuberant whimsy. Soviet Bus Stops is the most comprehensive and diverse collection of Soviet bus stop design ever assembled, including examples from Kazakhstan, Turkmenistan, Uzbekistan, Kyrgyzstan, Tajikistan, Ukraine, Moldova, Armenia, Abkhazia, Georgia, Lithuania, Latvia, Belarus and Estonia. Originally published in a quickly sold-out limited edition, Soviet Bus Stops, named one of the best photobooks of 2014 by Martin Parr, is now available in a highly anticipated, expanded smaller-format trade edition.
Published by Big Life Editions/D.A.P.. Text by Vicki Goldberg, Peter Singer, Jane Goodall, Alice Sebold, Nick Brandt.
In 2001, Nick Brandt embarked on an ambitious photographic project, a trilogy of books memorializing the fast-disappearing natural grandeur of East Africa. Focusing on some of the world's last great populations of large mammals--elephants, giraffes, lions, gorillas and their kin--he created two of the twenty-first century's most popular photographic books: the instant bestsellers On This Earth (2005) and A Shadow Falls (2009). Portraying East Africa's animals with a solemnity and empathy usually reserved for human subjects, Brandt's photographs "tell us, in a way that is beyond words, that we do not own this planet, and are not the only beings living on it who matter," as philosopher Peter Singer writes in an essay in this new volume. On This Earth, A Shadow Falls collects the most memorable images from Brandt's first two books in a handsome linen-bound edition, printed in quadratone at Meridian in the U.S. A bestseller since its release in 2012, On This Earth, A Shadow Falls includes essays by Peter Singer, renowned primatologist Jane Goodall, author Alice Sebold and photography critic Vicki Goldberg. With Africa's natural resources being fast wiped out, this volume stands all the more movingly as a last testament and elegy to a disappearing world. Nick Brandt (born 1966) photographs exclusively in Africa, using medium-format black-and-white film without telephoto or zoom lenses. Born in Britain and currently based in Southern California, Brandt cofounded Big Life Foundation in September 2010, which helps protect the endangered wildlife inhabiting a large area of East Africa.