The Swimming Pool is a new photographic essay from California-based street photographer Deanna Templeton (born 1969) that departs from her usual style to offer an expressive, intimate view of the human form underwater. The series was born after an impromptu nude swimming-pool shoot of husband and artist Ed Templeton, which spurred an eight-year journey in the study of light, expression and the enigma of water. Shooting entirely on color and black-and-white film and Polaroid, Templeton sent friends into the pool to be photographed in their truest form. Unlike her street photography, in which subjects were often strangers, Templeton found that creating these portraits required more intimacy and connection—a feeling that is apparent throughout every image in the series, which show strong, liberated individuals, confident and at ease in their most beautiful and vulnerable moments. As Ed Templeton writes in his afterword to this volume, "the nude swimmer is floating in a void of quiet solitude, the gentle pressure of being underwater enclosing her form like a baby in a womb and nothing exists outside of this world. A lone figure amidst a sea of blues and greys and frenetic sunlight performing a solitary dance for the photographer above, choosing movements and directions, twisting and swooping, contorting and expelling breaths painting a picture of form and light together." The Swimming Pool offers a deep and inspiring view of the human form.
PUBLISHER Um Yeah Arts
BOOK FORMAT Hardcover, 12.5 x 11 in. / 96 pgs / 26 color / 41 bw
PUBLISHING STATUS Pub Date 6/28/2016 Out of stock indefinitely
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2016 p. 102
PRODUCT DETAILS ISBN 9781942884002TRADE List Price: $55.00 CDN $72.50 GBP £50.00
New York–based, British-born photographer Adam Fuss (born 1961) has been exploring the subject of water for more than 30 years, and is perhaps best known for his life-sized photograms of this essential element.
Fuss is inspired by his personal observation of nature and his reinterpretation of the techniques of early photography. In dialogue with photographic pioneers such as William Henry Fox Talbot, Eugène Atget and Anna Atkins, Fuss distills the essence of photography—light interacting with a sensitized surface—to create evocative, startlingly beautiful images of the natural world. Roberta Smith has described Fuss’ style as “breathtaking visual extravagance born of a combination of pure controlled chance and superb control.”
Here, for the first time, is a book dedicated solely to the subject Fuss is most associated with: water. Charting a sophisticated engagement with the interaction of water and light throughout his entire career, Fuss personally selected all the pictures, which appear here in exquisite reproductions. Some of Fuss’ photographs of water are now classics of contemporary photography, such as the swimming snakes, the splashing newborn baby and the studies of concentric circles created by water drops; these are represented in this volume alongside many previously unpublished images.
Published by Skira. By Nico Maria Filigheddu, Giovanni Maria Filigheddu. Edited by Adriano Asara.
A book of inspirational pictures of pools of the Emerald Coast. Twelve amazing pools with architectural lines surrounded by lush Sardinian landscapes. Swimming pools: whether they look directly out over the sea or are set in a garden, whether they have a free form or are more geometrically shaped, whether they are designed to take your breath away or are a discreet addition to their surroundings, pools have become an integral component in the project of a holiday home and are inescapably connected in the mind’s eye with well-being and relaxation. This volume, which takes us into some of the most beautiful villas on the Emerald Coast, includes a selection of exceptional examples of pools that differ greatly: sometimes it all looks as though it was created by nature, but it was a human hand, Filigheddu Costruzioni, that selected and created the high-profile technical handcrafted solutions. A freshwater pool set in one of the most spectacular stretches of the whole Mediterranean coastline necessarily requires that it be designed with great sensibility and with expert knowledge of materials, using both the most innovative, high-tech solutions and consummate craftsmanship.
Giovanni Maria Filigheddu is the administration and sales manager; Nico Filigheddu is site manager; and Adriano Asara is production and public relations manager of Filigheddu costruzioni.
Poolscapes brings together two bodies of work—The Pool (2002–05) and Poolscapes (2009–12)—by French-born, Brooklyn-based photographer Karine Laval (born 1971), both focusing on the motif of the swimming pool. Presenting public pools in urban and natural environments throughout Europe and private pools in the US in two distinct sections, the book is arranged chronologically and shows an evolution in tone and depth, from the photographic to the painterly. The Pool series invites us into a sun-bleached public pool at midday, evocative of childhood memories and the experience of leisure and bathing. Gradually these geometric lines and familiar architectural structures give way to the abstract, often blurred shapes and colors of the Poolscapes pictures that oscillate between representation and abstraction. Here the pool becomes a metaphor, a mirror whose surface reflects the surrounding world but is also a gateway into a realm where bathers are distorted and fragmented.
Published by Metropolis Books/Gordon de Vries Studio. Foreword by Alastair Gordon. Text by Christopher Bascom Rawlins.
As the 1960s became The Sixties, architect Horace Gifford executed a remarkable series of beach houses that transformed the terrain and culture of New York’s Fire Island. Growing up on the beaches of Florida, Gifford forged a deep connection with coastal landscapes. Pairing this sensitivity with jazzy improvisations on modernist themes, he perfected a sustainable modernism in cedar and glass that was as attuned to natural landscapes as to our animal natures. Gifford’s serene 1960s pavilions provided refuge from a hostile world, while his exuberant post-Stonewall, pre-AIDS masterpieces orchestrated bacchanals of liberation. Marilyn Monroe, Elizabeth Taylor and Montgomery Clift once spurned Hollywood limos for the rustic charm of Fire Island’s boardwalks. Truman Capote wrote Breakfast at Tiffany’s here. Diane von Furstenburg showed off her latest wrap dresses to an audience that included Halston, Giorgio Sant’ Angelo, Calvin Klein and Geoffrey Beene. Today, such a roster evokes the aloof, gated compounds of the Hamptons or Malibu. But these celebrities lived in modestly scaled homes alongside middle-class vacationers, all with equal access to Fire Island’s natural beauty. Blending cultural and architectural history, Fire Island Modernist ponders a fascinating era through an overlooked architect whose life, work and colorful milieu trace the operatic arc of a lost generation, and still resonate with artistic and historical import.
Published by Damiani. Text by Paul Moakley. Interview by A. H. Data.
Taken in the "forgotten borough" of Staten Island between 1983 and 1984, the photographs in Christine Osinski’s (born 1948) Summer Days Staten Island create a portrait of working-class culture in an often overlooked section of New York City. Captured on Osinski’s large format 4x5 camera as she wandered the island, her candid portraits of strangers, vernacular architecture and quotidian scenes reveal an invisible landscape within reach of the thriving metropolis of Manhattan. The neighborhoods that Osinski captured are devoid of the skyscrapers, swarms of pedestrians and choking masses of traffic that are a short ferry ride away. Instead, she captures kids riding bikes on open, empty streets, suburban homes with neatly tended yards and the small-town feel of New York’s least populous borough. Accompanying the series of images is an essay by Paul Moakley, Time magazine’s Deputy Director of Photography and Visual Enterprise.
Published by Um Yeah Arts. Foreword by Scott Hulet. Text by Thomas Campbell.
Seeing Fatima's Eyes is a new photographic essay by the self-taught painter, sculptor, photographer and filmmaker Thomas Campbell (born 1969), on surfing and life in Morocco. In the early 1990s, just prior to his immersion in the scene around New York's Alleged Gallery, Campbell would regularly hole up in the North African enclave to produce paintings for solo exhibitions in Paris, New York and Rabat, all the while scouring the coast during the winter months for whatever waves might roll in from the Atlantic. Later, over the last ten years, Campbell brought various surfers of note (such as Dan Malloy, Alex Knost, Craig Anderson, Dave Rastovich and Ryan Burch) to join him there, and to savor Morocco's glorious climate and stupendous surf. This book, the second in Campbell's Slide surfing series (following 2012's Slide Your Brains Out), records these collective Moroccan adventures from the past 20 years, in color and black-and-white images that range from the everyday to the sublime.
PUBLISHER Um Yeah Arts
BOOK FORMAT Hardcover, 6.75 x 9.75 in. / 144 pgs / illustrated throughout.
PUBLISHING STATUS Pub Date 3/24/2015 Out of stock indefinitely
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2014 p. 50
PRODUCT DETAILS ISBN 9780985361136TRADE List Price: $39.95 CDN $53.95 GBP £35.00
Published by Damiani. Text by Lyle Rexer, April M. Watson, Chris Malloy, Johnny Abegg.
Surf Site Tin Type is an homage to a sport, a way of life, and a tribute to the people who practice it. Over the past decade Brooklyn-based photographer Joni Sternbach has traveled around the world, creating tintype portraits of contemporary surfers using the nineteenth-century wet-plate collodion process. Stunning in their detail, these one-of-a-kind images evoke the romance and adventure of surfing, and the bold individualism of the men and women who live to ride the waves. Working with a large-format camera and using hand-poured plates that are prepared and developed on location, Sternbach has profiled a fascinating range of surfers, both well known and unknown, on prized surfing beaches. Locations include Montauk and Malibu in the United States, Byron Bay in Australia and Cornwall in England. Typical surfing photographs are action shots, riding the mighty wave and in vivid color, whereas Sternbach turns to a historic technique to capture something essential and even primordial in the portraits and settings, recalling a tradition of nineteenth-century anthropological photography. Surf Site Tin Type features texts by noted photo critic and historian Lyle Rexer, curator April M. Watson, and Chris Malloy and Johnny Abegg, both well-known surfers and filmmakers.
Published by Damiani/PUKA PUKA. Foreword by Gerry Lopez. Interview by Nathan Howe. Afterword by Drew Kampion.
John Severson (born 1933) revolutionized pop culture's vision of surfing and surf culture through his prolific artistic output that transverses decades and disciplines. He began his career as a painter, selling his canvases at Long Beach State College. These first works consisted of oil paintings, photographs, drawings and prints relating to Hawaiian and Californian surf culture. In 1958, Severson expanded his repertoire and created a series of popular surf movies, such as Surf Safari, Surf Fever, Big Wednesday and Pacific Vibrations. While his were among the first surf movies, it was the posters associated with them, hugely popular when issued in the 1950s and 1960s, that remain collector favorites today. Showcased in these early posters, his graphic skills translated easily to Surfer magazine, which he founded in 1960. The magazine was the first to celebrate and revolutionize the art and sport of surfing, establishing it as a powerful pop culture phenomenon. The first issue was a 36-page collection of black-and-white photos, cartoon sketches and short articles--every aspect of which was created by Severson himself. His photographs appeared in Life, Sports Illustrated, Paris Match and other print venues. John Severson's SURF explores Severson's surf odyssey through painting, photography, film and publishing. Featuring an interview with the artist by Nathan Howe, artist and curator at Puka Puka, Hawaii, foreword by Gerry Lopez, surfer and co-founder of Lightning Bolt surfboards and afterword by Drew Kampion, author and former editor of Surfer, John Severson's SURF documents the birth of surf culture and serves as a testament to our ocean.
Published by T. Adler Books. Introduction by Scott Hulet. Foreword by Jamie Brisick.
On the heels of 2006's hugely popular Surfing Photographs from the Seventies, T. Adler Books now releases the companion volume, Surfing Photographs from the Eighties Taken by Jeff Divine. The 1980s were a tumultuous period in surf history, as the "everything's groovy" communalism of the previous decade was blown apart into splinter groups. Professionals, rebels, punks and world travelers all banged the drum for their personal vision of surfing. The result was loud and vivid and drenched in fluorescence and neon. Photographer Jeff Divine was on the case, documenting the changes from surfing's twin power poles: southern California and the north shore of Oahu. Divine's access to these scenes, earned from 15 years on the sand and in the water, infuse this volume with authenticity, as an insider look into the period's most definitive moments. Christian Fletcher's strident aerial sorties; the first high-dollar sponsored contests; the west coast cool of Tom Curren; the back alley attitude of Sunny Garcia: Divine brought it all home on Kodachrome 64. And while Wall Street and Madison Avenue were doing their damnedest to monetize the style and freedom of surfing, the sublimity of the ride itself remained unsullied.
Jeff Divine has been photographing surfing for 44 years, and has been the subject of three surf photography monographs. Among his previous books are Surfing Photographs from the Seventies (T. Adler, 2006).