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.
This new project by German-born photographer Renate Aller is an extension of the ongoing series and book Oceanscapes (2010). Aller has continued to make images of the ocean from a single vantage point--for which she is internationally known--but for the last several years, she has also photographed sand dunes in New Mexico and Colorado. She has now paired the resulting images in a fascinating new series that continues her investigation into the relationship between romanticism, memory and landscape in the context of our current sociopolitical awareness. There is both a visual and visceral relationship between the two bodies of work. The desert images also capture visitors to the dunes, who engage in beach activities far away from any large body of water. And while these parallel realities are from completely different locations, the simultaneous, multiple activities on the sloping sand hills appears as if layers of different people and activities were choreographed next to rolling waves of the sea. Aller's first combination of these images was in book form, for a mammoth handmade book that was 36 inches wide. The overwhelming success of that publication has inspired this new trade edition, which features the largest binding that can be mechanically bound, and includes an expanded selection of the work.
Born in Germany, Renate Aller lives and works in New York. Ocean and Desert is her third monograph published with Radius Books, following Dicotyledon and the long-term project Oceanscapes-One View-Ten Years. Pieces from that series and other site-specific artworks are in the collections of corporate institutions, private collectors and museums, including the Lannan Foundation, Santa Fe; the Corcoran Gallery of Art, Washington, D.C.; Yale University Art Gallery, Conneticut; the George Eastman House, Rochester; New Britain Museum of American Art; Hamburger Kunsthalle; and the Chazen Museum of Art, Madison.
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.
Montauk Dreaming is a vibrant celebration of the Long Island town that London-born photographer Ben Watts (born 1967) has called home since 1995. A "paradise three hours outside the walls of the greatest city in the world," as Watts calls it, Montauk has exploded in recent years, going from a sleepy beach town to a major summer cultural destination. An established commercial and fashion photographer, Watts regularly shoots for publications such as The New York Times Magazine, GQ and Interview. This volume collects the photographs that Watts takes on his days off, of his friends and family at the beaches and the parties that inspire his colorful style. Primarily shot on an iPhone with Watts' own photo app and set of filters rendering the beaches in hallucinatory, sun-drenched neon hues, Montauk Dreaming captures the lifestyle and spirit of a summer on the beach.
Published by Heni Publishing. Introduction by Edwin Heathcote.
A testament to the heyday of British summer holidays in the late 19th and early 20th centuries (and the country's notoriously fickle weather), seaside shelters provided a spot for British beachgoers to get out of the sun or the rain. Seaside towns, competing to attract visitors, installed these colorful structures on their beaches in a dizzying array of architectural styles, from Victorian to art deco to Bauhaus-inspired. The shelters started to fall into disrepair as low-cost air travel lured British holidaymakers away from the seaside; most of the shelters now stand deserted.
In Seaside Shelters, the London-based architectural photographer Will Scott celebrates the wide variety of shelters dotting the British coastline, documenting this disappearing vernacular architecture at iconic resorts and lesser-known coastal gems alike, including Blackpool, Great Yarmouth, the Isle of Wight, Clacton-on-Sea, Portsmouth, Aberystwyth, Swanage and Cromer.
Published by Actes Sud/Hermès. Preface by Anne-Marie Garat. Text by Thierry Terret.
Jacques Henri Lartigue was fascinated by the ascent of sport in the early twentieth century as a fashionable pastime for the middle classes, and was himself a keen sportsman. Lartigue’s entirely unposed photographs, presented album-style in this gorgeous, luxurious and delightful volume, capture both the joyous exuberance of amateur sports--racing, skiing, tennis, gymnastics, hang gliding--and the particular character of its popularity in the first half of the twentieth century. Lartigue is an absolute master at conveying the dynamism of the human body at play--the peculiar shapes it can contort into, and the gestures that can express anything from easy nonchalance to fierce focus. These photographs also serve as a historical catalogue of the paraphernalia and smart casual clothing associated with each sport. A Sporting Life is divided into five themed chapters: “The Sportsman,” “Taking the Air,” “Training,” “Women and Children” and “Sport as Spectacle.” Here, we witness how sports were transforming social relations, introducing new opportunities for expression, especially across gender lines. In an essay, historian Thierry Terret reveals the complexity of Lartigue’s technical approach to photography, and looks at the issues surrounding the rise of sport in its modern incarnation as a leisure pursuit and as commerce. In a preface, novelist Anne-Marie Garat (whose own narratives often feature the themes of photography and family) provides a personal perspective on Lartigue’s sports photography, also exploring the role played by sport in the development of photography itself. The book is copublished with Hermès, in celebration of its 2013 sports theme.
Jacques Henri Lartigue (1894–1986) was a French photographer and painter, most famous for his photographs of the leisure activities of France’s middle and upper classes. An avid photographer from the age of seven, Lartigue gained fame for his photo albums, which provide a comprehensive chronicle of the twentieth century in France and abroad, and for his official portraits.