Text by David Campany, Teju Cole, Christie Davis, John D’Agata, Michael Fried, Darius Himes, Leah Ollman, Laura Steward.
Photography is omnipresent; everyone is photographing everything. How do artists and writers reconcile this voracious urge to photograph with a photographic aesthetic and methodology that has tended to value “less is more”?
Pbk, 10 x 12 in. / 64 pgs / 10 color. | 11/21/2017 | In stock $25.00
Introduction by Kay Ryan. Conversation with David Campany.
Electricities gathers photographs by Minneapolis-based multimedia artist David Goldes (born 1947) that depict constructions Goldes refers to as “performing still-lifes,” based on historical experiments with electricity.
Hbk, 9.75 x 12 in. / 160 pgs / illustrated throughout. | 11/21/2017 | In stock $50.00
Published by Hayward Gallery Publishing. Text by Roger Malbert, Antonia Shaw. Interview by David Campany.
Silver and Glass is the first publication to explore the application and influence of photography in the art of the popular British artist Cornelia Parker (born 1956). The book is illustrated by works from across Parker's career, including those which arose from her investigations into the photogravure. Inspired by the 19th-century photographic pioneer William Henry Fox Talbot, Parker combined two of his early techniques—solar prints and the photogravure—to create a new hybrid form of print by exposing translucent three-dimensional objects to ultraviolet light.
Presented here are a collection of 20 large-scale prints from three experimental series: Fox Talbot's Articles of Glass (2017), One Day This Glass Will Break (2015) and Thirty Pieces of Silver (Exposed) (2015). A wide range of Parker's sculpture and documentary photography is also included.
Published by Gregory R. Miller & Co.. Text by David Campany, Alexander Nemerov, Cynthia Daignault.
In 2014, American painter Cynthia Daignault (born 1978) traveled around the entire outside border of the USA, stopping roughly every 25 miles to paint the view before her. The resulting monumental work, Light Atlas, is a grand portrait of America in 360 canvases that reveal slow shifts in hue, atmosphere, depth, industry and economy.
This catalog reproduces every painting of Light Atlas at 1:1 scale, in a filmic retelling of her journey and of the country she circled. Daignault weaves a dense narrative, intercutting parallel stories of the journey, the creation of the work and the grander fiction of America itself. New essays were commissioned for the book by celebrated historians and writers Alexander Nemerov and David Campany, approaching the piece both in its relationship to the history of painting and photography.
Published by Forlaget Press. Introduction by David Campany
My Last Pictures presents photographs from Norwegian photographer Rune Johansen (born 1957), whose beloved Hasselblad camera was stolen in 2014. The snapshots of Norwegian life captured by that camera are presented in this monograph, marking the end of an era in his career.
Published by Hatje Cantz. Edited with text by Róna Kopeczky. Text by David Campany, Jörg Colberg, Gábor Kopek.
This catalog supplies an overview of the last 33 years of photography from Moholy-Nagy University of Art and Design in Budapest, with works by Sári Ember, Anna Fabricius, Viola Fátyol, Adél Koleszár, Gábor Arion Kudász, Péter Puklus, Gergely Szatmári and Éva Szombat.
Twenty years ago, New York–based photographer Charles H. Traub (born 1945) abandoned all pretense of trying to find specific themes and subjects in his photographic wanderings, instead creating what he calls "Taradiddles," in which he fully embraced any and all ironic situations. This volume is a collection of trifles that in Traub's hands become matters of remarkable social commentary.
Traub's previous publications include Dolce Via (2014) and Lunchtime (2015).
Published by RM. Text by David Campany, Gaby Martínez.
The second volume of Barcelona-based photographer Txema Salvans’ (born 1971) series The Waiting Game documents fishermen on Spain’s Mediterranean coast. Essays accompanying Salvans’ photographs explore the balance between ugliness and beauty in his work.
Published by Steidl/Pace/MacGill Gallery. Text by David Campany.
Tod Papageorge: Dr. Blankman´s New York documents a brief but critical moment in the photographer's early career, the two years Papageorge shot in color in New York in the late 1960s. Black-and-white photography was still the "serious" medium, and color reserved for commercial applications; Papageorge--25 years old and newly arrived in New York City--was encouraged by his fellow photographers to seek paying magazine work by developing a body of work in color. In some ways it was a failed experiment: Papageorge mostly approached color in the same way as he approached black and white, except that he also began to intuitively produce still-life pictures with little commercial appeal, spotlighting canned hams in shop windows and political posters. But color offered Papageorge the opportunity to work in a new medium at a time of great social, political and cultural change. "I’d like to think that, in Dr. Blankman´s New York, you’ll find a persuasive account of what it meant for me to be free with a Leica in the streets of my newly adopted home of Manhattan," writes Papageorge, "a record drawn with Kodachrome film and its rich, saturated colors." Tod Papageorge (born 1940) picked up photography for the first time as a student at the University of New Hampshire. He is the recipient of two Guggenheim Fellowships and two National Endowment for the Arts Fellowships. From 1979 to 2013 Papageorge served as Yale University’s Walker Evans Professor of Photography and Director of Graduate Study in Photography.
Oh Man is a series of seventeen large-format photographs, fifteen in color and two in black and white, created in Los Angeles from 2012 to 2013. Like Lise Sarfati’s previous series The New Life (2003), She (2009) and On Hollywood (2010), Oh Man is also set in the urban landscape. In this new work Sarfati rejects the romantic picturesque. She continues to pursue a body of work which posesses a certain interior complexity and can neither be narrowed down to a singular or global perspective nor be perceived as an object.
Sarfati quotes Baudelaire regarding the series: “in certain almost supernatural states of the soul, the profundity of life reveals itself entirely in the spectacle, however ordinary it may be, before one's eyes. It becomes its Symbol.” She invests the city in a personal and metaphoric way. She rethinks what already exists. A primal vitality, visceral, unrestrainable, arising from rootlessness—men walking and the radical indifference of their bodies—occupies the empty heart of Los Angeles. She creates an image which is always engaged in a discourse with the viewer, an image in which we can project ourselves yet also feel free. The whole series is bathed in a solar light. This luminous point of view acts as an illumination on the image as if to light our vision. Sarfati worked very precisely on the choice of this intense solar light : “I worked on the distance to create an ambiguous link in the relationship between the man and the landscape. My images are large format but through their equilibrium allow the viewer total freedom to engage with the landscape or the human figure.”
The figures in the photographs, characters like those she defined in her series The New Life, She and On Hollywood, are ghostly here. Oh Man creates an uncanny feeling : the men are both anonymous and somehow familiar. They are filmed by surveillance cameras and become a detail of the virtual landscape. What J.G. Ballard, one of Lise Sarfati's references, concerning computerized surveillance systems calls : "an Orwellian nightmare come true, but disguised as a public service."
Oh Man gives us the feeling that we could be downtown in any US megalopolis. The American urban landscape in Sarfati's photographs scrolls along, the warehouses like a long list of signs without affect: United States Post Office, NAB Sound, Toys, Clothing, Handbag, Cosmetics.
Throughout her different series, Sarfati never ceases to interrogate herself on the void and the relationship between the man and the outside world. InOh Man we are swayed by the ambiguous sensation of the landscape, between the attraction to the void and the enjoyment of the space crossed by the walking man.
Published by The Museum of Modern Art, New York. Edited with text by Quentin Bajac. Text by David Campany, Kristen Gaylord, Martino Stierli.
One of the most influential photographers of our time, Stephen Shore has often been categorized as one of a group of artists of the 1970s who captured American popular culture in straightforward, unglamorous color images. While this is true, it is only part of the story: Shore has worked with many forms of photography, switching from cheap automatic cameras to large format in the 1970s, pioneering the use of color film before returning to black and white in the 1990s, and, in the 2000s, taking up the opportunities offered by digital photography, digital printing and social media.
Published to accompany the first comprehensive survey of Stephen Shore’s work in the US, this catalog reflects the full range of his contribution, including the gelatin silver prints he made as a teenager (and sold to The Museum of Modern Art); his photographs of the scene at Andy Warhol’s Factory, in New York; the color images he made during cross-country road trips in the 1970s; his recent explorations of Israel, the West Bank and Ukraine; and his current work on digital platforms, including Instagram.
This book offers a fresh, kaleidoscopic vision of the artist’s extensive career, presenting more than 400 reproductions arranged in a thematic framework, each grouping accompanied by a short but wide-ranging essay. This unique encyclopedia-style format makes visible the artist’s versatility of technique and the diversity of his output, reflecting his singular vision and uncompromising pursuit of photography’s possibilities.
Stephen Shore (born 1947) was the first living photographer to have a solo show at the Metropolitan Museum of Art in New York since Alfred Stieglitz (40 years earlier). He has also had solo shows at The Museum of Modern Art, New York; George Eastman House, Rochester; Kunsthalle, Dusseldorf; Hammer Museum, Los Angeles; Jeu de Paume, Paris; and the Art Institute of Chicago. Since 1982 he has been the director of the Photography Program at Bard College, New York, where he is the Susan Weber Professor in the Arts.
Quentin Bajac is former Chief Curator of Photography at the Museum of Modern Art, New York.
David Campany is an artist, writer and Reader in Photography at the University of Westminster, London.
Kristen Gaylord is Assistant Curator of Photographs at the Amon Carter Museum, Texas.
Martino Stierli is the Philip Johnson Curator of Architecture and Design at the Museum of Modern Art, New York and the Swiss National Science Foundation Professor at the University of Zurich’s Institute of Art History.
Published by Damiani. By Deborah Goodman Davis. Edited by Shawn Waldron. Text by David Campany.
From the 6th century BC to modern times, pharmacology has been esteemed for both its practical and mystical aspects. The physical setting of the pharmacy has long been intrinsic to the fabric of the largest cities and the smallest towns and villages, but it is easy to equate its ubiquity with banality, and even easier to discount it as a fertile subject for art. PhotoRx refutes such notions by highlighting a surprising collection of 75 works, mostly photographs, dating from 1850 to the present. The diverse range of artists includes Berenice Abbott, Eugène Atget, Harry Callahan, Walker Evans, Robert Frank, Damien Hirst, Irving Penn, Gordon Parks, Taryn Simon and Zoe Strauss, among others. A critical text by photography scholar and curator David Campany connects the works while framing them within a broader historical context.
Published by Radius Books. Text by David Campany, Teju Cole, Christie Davis, John D’Agata, Michael Fried, Darius Himes, Leah Ollman, Laura Steward.
One pairs artists and writers to think about this question. Eight photographers—Marco Breuer, Thomas Joshua Cooper, John Gossage, Trevor Paglen, Alison Rossiter, Victoria Sambunaris, Rebecca Norris Webb and James Welling—were asked to submit one image on the theme of minimalism. Eight writers—David Campany, Teju Cole, Christie Davis, John D’Agata, Michael Fried, Darius Himes, Leah Ollman and Laura Steward—were enlisted to respond to those submissions, each paired with a specific image. The results offer a probing assessment of Antoine de Saint-Exupery’s maxim: “Perfection is achieved, not when there is nothing more to add, but when there is nothing left to take away.”
Published by Damiani. Introduction by Kay Ryan. Conversation with David Campany.
Electrical phenomena including electrostatics, high-voltage arcing, Faraday’s first transformer, water conductivity, electrified graphite drawings and other inventions and experiments form the basis of these works. Goldes uses commonplace materials such as string, pins, wire, pencil lines and bright colored backgrounds. The photographs reveal how electricity jumps gaps, repels, attracts, arcs, destroys and often confounds our expectations.
Published by Walther König, Köln. Edited by Marvin Hoshino, Thomas Zander. Introduction by David Campany.
In 1938 Helen Levitt (1913–2009) accompanied Walker Evans on a project to photograph passengers on the New York subway. Soon she was taking her own pictures. More empathetic and informal than Evans’, Levitt’s finest photographs are the product of her willingness to participate as a fellow citizen, not as a photographer setting herself apart. The disarming ease of Levitt’s pictures quickly accrues into an undeniably singular attitude to both the medium and the world.
Around 1978—a full four decades after her first foray—Levitt returned to the New York subway, by which time public behavior on the subway was visibly less formal. She seems to have picked up exactly where she had left off in 1938, but in general her photography was even less restricted—more in keeping with her looser street photographs. This is the most comprehensive publication of Helen Levitt’s photographs from the New York subway, many of which are published here for the first time.
Published by Holzwarth Publications. Text by David Campany, John Hilliard.
This survey of recent work by British artist John Hilliard (born 1945) examines his conceptual approach to photography. Hilliard utilizes every means--double exposure, multiple perspectives, blow-ups, cutouts and superimpositions--to explore what an image can tell us about the world and where the medium determines the meaning.
In his most recent photo project, Blank, German photographer Andreas Gefeller (born 1970) presents seductively radiant satellite images of urban areas by night. The images combine technoid strips of light and light grids to become crystalline diagrams of human existence.
Published by JRP|Ringier. Edited by Markus Bosshard, Lionel Bovier, Jürg Trösch. Text by David Campany.
English artist John Stezaker (born 1949) reexamines various relationships to the photographic image—as documentation of truth, purveyor of memory and symbol of modern culture. In his collages, Stezaker appropriates images found in books, magazines and postcards, and uses them as "readymades." Through his elegant juxtapositions, Stezaker adopts the content and contexts of the original images to convey his own witty and poignant meanings. In this new volume, Stezaker started with found images from Hollywood’s golden era. Using publicity shots of classic film icons, the artist splices and overlaps famous faces, creating hybrid stars that dissociate the familiar and take on an uncanny quality, destabilizing our idealization of celebrity through work both surreal and grotesque. The volume includes an essay by writer, curator and artist David Campany.
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.
Fancy Pictures brings together six of photographer Mark Neville's (born 1966) socially engaged and intensely immersive projects from the last decade. He often pictures tight working communities through a collaborative process intended to be of direct, practical benefit to his subjects. One 2011 project focused on an English town with a strong post-industrial identity that has suffered serious industrial pollution. Assembling photos and scientific data, Neville produced a book to be given free to the environmental health services department of each of the 433 local councils in the UK. For another project in Helmand, Afghanistan, the artist created stills using multiple flash systems and 16mm movies to depict a military occupancy by young people. Spanning continents and cultures, each of Neville's projects involves the artist living among his subjects. Fancy Pictures is a testament to the power of photography—not just to capture a community, but to effect change in it.
Published by The Museum of Modern Art, New York. Edited with text by Quentin Bajac, Lucy Gallun, Roxana Marcoci, Sarah Hermanson Meister. Text by David Campany, Noam Elcott, Eva Respini, Robert Slifkin.
The Museum of Modern Art has one of the greatest collections of 20th-century photography in the world. As one of three volumes dedicated to a new history of photography published by the Museum, this publication comprises a comprehensive catalogue of the collection post-1960s and brings much-needed new critical perspective to the most prominent artists working with the photographic medium of the late 20th and early 21st centuries. At a moment when photography is undergoing fast-paced changes and artists are seeking to redefine its boundaries in new and exciting ways, Photography at MoMA serves as an excellent resource for understanding the expanded field of contemporary photography today. The book begins with an in-depth introduction followed by eight chapters of full-color plates, each introduced by a short essay. Over 250 artists are featured, including Diane Arbus, John Baldessari, Jan Dibbets, Rineke Dijkstra, William Eggleston, Lee Friedlander, Louise Lawler, Zoe Leonard, Helen Levitt, Sigmar Polke, Cindy Sherman, Wolfgang Tillmans, Jeff Wall, Carrie Mae Weems, Hannah Wilke and Garry Winogrand, among many others.
Quentin Bajac is former Joel and Anne Ehrenkranz Chief Curator of Photography at The Museum of Modern Art, New York.
David Campany is an artist, writer and reader in photography at the University of Westminster, London.
Noam M. Elcott is Assistant Professor in the Department of Art History and Archaeology at Columbia University, New York.
Lucy Gallun is Assistant Curator in the Department of Photography at The Museum of Modern Art, New York.
Roxana Marconi is Senior Curator in the Department of Photography at The Museum of Modern Art, New York.
Sarah Hermanson Meister is Curator in the Department of Photography at The Museum of Modern Art, New York.
Eva Respini is Barbara Lee Chief Curator at the Institute of Contemporary Art, Boston, and a former Curator in the Department of Photography at The Museum of Modern Art, New York.
Robert Slifkin is Assistant Professor of Fine Arts at the Institute of Fine Arts, New York University.
Published by Violette Editions. Text by Brian Dillon, David Campany. Interview by A.M. Homes.
The photographs of Sarah Jones address established pictorial genres and our associated expectations by paring back space, subject and gesture. This book--the first major monograph on this young British artist--brings together work from an 18-year period, including many photographs never previously published, and looks at the themes and concerns that have remained constants in her work. The sequence of images chosen and arranged by the artist specifically for this publication is informed by Jones’ interest in how we see and represent her chosen subjects, using tropes from the stereograph, the double, the still life and portraiture. Jones first gained notice in the late 1990s for her photographs taken in psychoanalysts’ consulting rooms. These provocative sites have been explored through her practice over the years, in particular the couches that, in Jones’s images, show visible signs of the imprint of the patients who had reclined upon them during consultation. Her well-known later studies of adolescent girls uncomfortably caught in the flash of the camera in domestic settings draw attention to the staged relationship between model, photographer and location. Recent diptychs of horses and rose bushes refer to the viewing of early stereographic prints and explore the potential for photography to reveal uncanny perspectives on a subject. In The Rose Gardens series, Jones photographs the front and back of rose bushes in public gardens so that viewers can contemplate both viewpoints simultaneously. Jones’ overarching imperative is to look at subjects stripped back to an emotional truth. The imprints on the couches, the view of the roses that are beginning to wilt and the glazed look in the eyes of her models all investigate ideas of beauty and ritualized everyday gesture.
Published by JRP|Ringier. Edited by Cristina Bechtler, David Campany. Text by John Baldessari, David Campany, Amy Cappellazzo, Jessica Morgan, Naomi Shohan.
PA is an annual artist’s magazine devoted to artists that use photography. For each issue, an artist is asked to invite a collaborator to engage in a dialogue about their practice. For this latest issue, American artist John Baldessari chose film set designer Naomi Shohan, and the two collaborated on a brilliant and witty elaboration of Baldessari’s treatment of found photography. The book juxtaposes Hollywood film stills from the outsider’s viewpoint--Baldessari’s take on Hollywood--with film stills from the insider’s viewpoint-- that of Shohan the set designer, who has worked on major film productions such as American Beauty, Constantine, The Replacement Killers and The Sorcerer’s Apprentice. Baldessari is well known for his enjoyment of collaboration, but this volume constitutes his most intriguing venture to date. Also included is a conversation with the artists by Amy Cappellazzo.
Published by Ludion. Edited by Hans De Wolf. Text by David Campany, Michael Fried, Luc Tuymans, Lawrence Weiner, et al. Interview by Hans De Wolf.
The photography of Jeff Wall (born 1946) is consciously and profoundly saturated in the social: in the Vancouver art community from which he first emerged, fully formed, in the late 1970s; in the racial and gender politics of our times, which he analyses with marvelous clarity in his huge photographic light boxes that declare an equal status with painting through their scale and their carefully plotted depth and grandeur; in the art history pantheon that informs his staged compositions, from Hokusai to Velásquez and Manet; and in his influence on at least two generations of photographers, most notably the Düsseldorf school (Andreas Gursky once cited Wall as “a great model for me” ). Jeff Wall: The Crooked Path examines the cultural context for Wall's tremendous achievement in photography. Wall himself has chosen 25 of his own photographs, taken between the late 1970s and the present, and has constellated them among the visionary company his work keeps, alongside reproductions of works by Marcel Duchamp, Diane Arbus, Eugene Atget, Wols, Andreas Gursky, David Claerbout, Thomas Struth, Frank Stella, Robert Smithson, Rodney Graham, Ian Wallace, Lawrence Wiener and R.W. Fassbinder. The Crooked Path orients Wall's photography across ten themed chapters, each of which is prefaced with an interview with Wall by Hans De Wolf. Also included are testimonies and essays by fellow artists and art historians, such as Luc Tuymans, Lawrence Weiner, Michael Fried and David Campany.
Published by Hatje Cantz. Text by Stephan Berg, Konrad Bitterli, David Campany, Stefan Gronert, Dora Imhof.
Founded in 1990, Luwa AG's rarely exhibited photography collection is one of the world's most comprehensive gatherings of conceptual photography. It contains major works by artists such as Bernd and Hilla Becher, Sigmar Polke, Imi Knoebel, Martin Kippenberger, Thomas Ruff, Andreas Gursky, Fischli/Weiss, Roman Signer, Richard Prince, Jeff Wall, Hiroshi Sugimoto, Stan Douglas and Gabriel Orozco.
Published by Errata Editions. Text by David Campany, Pierre Mac Orlan, Jeffrey Ladd.
Errata Editions' Books on Books series is an ongoing publishing project dedicated to making rare and out-of-print photography books accessible to students and photobook enthusiasts. These are not reprints or facsimiles but complete studies of the original books. Each volume in the series presents the entire content, page for page, of an original master bookwork which, up until now, has been too rare or expensive for most to experience. Through a mix of classic and contemporary titles, this series spans the breadth of photographic practice as it has appeared on the printed page and allows further study of the creation and meanings of these great works of art. Each volume in the series contains illustrations of every page in the original photobook, a new essay by an established writer on photography, production notes about the creation of the original edition and biographical and bibliographical information about each artist. Atget: Photographe de Paris is the perfect starting point for this invaluable new series on great photography books. Published in 1930, three years after Atget's death, it is now regarded as a classic that has influenced many generations of artists, including Berenice Abbott and Walker Evans. Books on Books 1 reproduces all 96 collotype plates from the original, as well as a translation of the original Pierre Mac Orlan text on Eugene Atget's remarkable documentation of Paris at the turn of the nineteenth century. Noted author and lecturer David Campany contributes a contemporary essay called "Atget's Intelligent Documents" written for this volume.
PUBLISHER Errata Editions
BOOK FORMAT Clth, 7.25 x 9 in. / 112 pgs / 96 color.
PUBLISHING STATUS Pub Date 2/1/2009 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2009 p. 46
PRODUCT DETAILS ISBN 9781935004004SDNR60 List Price: $39.95 CDN $53.95