Published by The Museum of Modern Art, New York. Text by Richard Benson, Peter Galassi.
Former Dean of the Yale School of Art, Richard Benson has been a photographer for more than four decades, but until now his art often took a back seat to his prodigious achievements as a printer and a teacher. When he devoted himself to overseeing the production of his own pictures a few years ago, everything fell into place. From direct digital capture through inkjet output, Benson's renowned technical wizardry yields unusually vibrant and beguiling color prints that are at once ultra-vivid and utterly natural, like our everyday visual experience. This volume presents nearly 100 photographs by Benson that highlight not only the unique properties of his prints, but also his fresh techniques for reproducing them on a printing press, as exemplified in this book. The uncanny lushness and clarity of the photographs gives voice to Benson's generous, inquisitive eye. As he crisscrossed the continent, Benson observed the creations of nature as well as man in pictures that are at once cheerful and patiently attentive to the forces that shape and soon enough change everything under the sun. An essay by Peter Galassi, Chief Curator of Photography at MoMA, surveys the work and a text by Benson explains how it was made.
Published by Ivorypress. Edited by Elena Ochoa Foster. Text by Hans Magnus Enzensberger, Thomas Weski, Peter Galassi, Tom Ford, Philip-Lorca diCorcia, Nobuyoshi Araki, Marina Abramovic, et al.
Ivory Press' new C Photo series is a five-year project that follows on the heels of C Photo magazine, departing from its predecessor's format by structuring each issue thematically, with guest editorships from various internationally renowned curators. This inaugural issue, edited by Elena Ochoa Foster, is devoted to early and first works by some of the biggest names in photography. These fledgling projects show budding artists striking out to discover a visual language of their own, and range from documentary photography to photography as a record of conceptual and performance art pieces. It includes works by such venerable international photographers as Nobuyoshi Araki, Danny Lyon, Marina Abramovic, Philip-Lorca diCorcia, Boris Mikhailov, William Eggleston, Henri Cartier-Bresson, Jeff Wall, Helmut Newton, Joan Fontcuberta and many more. Each of the portfolios is accompanied by texts from the photographers themselves or from well-known photography critics that contextualize and elaborate on the works.
BOOK FORMAT Flexi, 9.5 x 12 in. / 224 pgs / 52 color / 112 tritone.
PUBLISHING STATUS Pub Date 2/28/2011 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2011 p. 101
PRODUCT DETAILS ISBN 9788493834029TRADE List Price: $57.00 CDN $70.00
Published by The Museum of Modern Art, New York. Text by Peter Galassi.
Henri Cartier-Bresson (1908–2004) is one of the most influential and beloved figures in the history of photography. His inventive work of the early 1930s helped define the creative potential of modern photography. Following World War II, he helped found the Magnum photo agency, which enabled photojournalists to reach a broad audience through magazines such as Life while retaining control over their work. Cartier-Bresson would go on to produce major bodies of photographic reportage, capturing such events as China during the revolution, the Soviet Union after Stalin's death, the United States in the postwar boom and Europe as its older cultures confronted modern realities. Published to accompany an exhibition at The Museum of Modern Art, this is the first major publication to make full use of the extensive holdings of the Fondation Cartier-Bresson—including thousands of prints and a vast resource of documents relating to the photographer's life and work. The heart of the book surveys Cartier-Bresson's career through 300 photographs divided into 12 chapters. While many of his most famous pictures are included, a great number of images will be unfamiliar even to specialists. A wide-ranging essay by Peter Galassi, Chief Curator of Photography at the Museum, offers an entirely new understanding of Cartier-Bresson's extraordinary career and its overlapping contexts of journalism and art. The extensive supporting material—featuring detailed chronologies of the photographer's professional travels and of spreads of his picture stories as they appeared in magazines—will revolutionize the study of Cartier-Bresson's work.
Published by The Museum of Modern Art, New York. Text by Peter Galassi. Afterword by Richard Benson.
Writing about The Museum of Modern Art, New York's monumental and critically acclaimed 2005 Lee Friedlander retrospective, Richard Lacayo of Time magazine said: "If a sophisticated notion of what a picture can look like, the continuous construction of new avenues of feeling, and sheer, sustained inventiveness are the measures we go by, then Friedlander is one of the most important American artists of any kind since World War II… Friedlander loves the muchness of the world. He loves the haphazard multitude of things that can pop up in every picture--street signs, sunbeams, bits of roofline, a jagged shadow--all colliding and contradicting one another. In his breezy but very acute introduction to the show's catalogue, Peter Galassi, MoMA's Chief Curator of Photography, gets it just right when he says some of Friedlander's pictures give you the impression that 'the physical world had been broken into fragments and reconstituted under pressure at three times its original density.'" Now available for the first time--the paperback edition of this definitive, comprehensive volume is being published to coincide with the traveling retrospective's stop in San Francisco at SFMOMA. At 480 pages, Friedlander includes more than 750 photographs--770 duotone and 33 color--grouped by series, as well as the incisive, aforementioned essay by Peter Galassi and an afterword by Richard Benson.
Published by The Museum of Modern Art, New York. Afterword by Peter Galassi.
In August of 1974, the photographer Nicholas Nixon made a group portrait of his wife, Bebe, and her three sisters, Heather, Mimi and Laurie--the Brown sisters. He did not keep that image, but in 1975 he made another portrait of the four, who then ranged in age between 15 and 25. Working with an 8x10-inch view camera, whose large negatives capture a wealth of detail and a luscious continuity of tone, Nixon did the same in 1976, and this second successful photograph prompted him to suggest to the sisters that they assemble for another portrait every year. The women agreed, and have continued to agree every year since. In 1999, when the resulting series of photographs reached its twenty-fifth anniversary, The Museum of Modern Art published The Brown Sisters, presenting all of the portraits in sequence. That edition is out of print. Now, as the family's "annual rite of passage," as Nixon has called it, hits year 33--a third of a century--the Museum is publishing a second edition, including eight new photographs that bring the series up to date. "We might wish," writes Peter Galassi, the Museum's Chief Curator of Photography, "that our family included a photographer of such discipline and skill…but otherwise Nixon's pictures do what all family photographs do: they fix a presence and mark the passage of time, graciously declining to expound or explain."
Published by The Museum of Modern Art, New York. Afterword by Peter Galassi.
Born in Tel Aviv in 1954, Barry Frydlender has been exploring the potential of digital technology for more than a decade, and over the past five years his experiment has gathered greater momentum. Each of his panoramic photographs is put together from dozens, sometimes hundreds, of shots that may have taken minutes or months to accumulate. Filled with people and things, these works reward slow, patient looking, and the invitation to do so is especially pertinent to the pictures reproduced in this book. This publication, which accompanies a Spring 2007 exhibition at The Museum of Modern Art, concerns only one aspect of Frydlender's work--those pictures that deal with life in contemporary Israel. Frydlender's Israeli panoramas includes Arab and Jew, Ashkenazim and Sephardim, secular and religious, rich and poor, young and old. All of his subjects are treated with equanimity, which is the hallmark of his art. Much of the most ambitious art of the past few decades has drawn its themes and its creative energy from the polemics of group identity. Frydlender's recent work is all the more remarkable against that background, for its attentiveness to each individual group is rooted in its recognition of their multiplicity.
Published by The Museum of Modern Art, New York/San Francisco Museum of Modern Art. Foreword by Peter Galassi, Neal Benezra. Text by Peter Galassi, James Rondeau, Jeff Wall.
Over the past three decades, Vancouver artist Jeff Wall's large color transparencies have won international acclaim. Wall has created a unique, seductive and complex pictorial universe by drawing upon philosophy, literature, nineteenth-century painting, Neo-Realist cinema and the traditions of both Conceptual art and documentary photography. Organized by The Museum of Modern Art, New York, and the San Francisco Museum of Modern Art, Wall's 2007 American traveling retrospective will include all of the artist's major works to date. In addition to color plates and illuminating details, the exhibition catalogue includes an essay by Peter Galassi that explores the full range of Wall's artistic and intellectual interests and offers fresh perspectives on one of the most adventurous creative achievements of our time. The essay is followed by an interview with the artist by James Rondeau, Curator of Modern and Contemporary Art at the Art Institute of Chicago, where the exhibition will be on view during the Summer of 2007. Also available from The Museum of Modern Art, New York: Jeff Wall: Selected Essays and Interviews.
Published by The Museum of Modern Art, New York. Foreword by Peter Galassi.
Throughout his career, the influential art photographer Jeff Wall has written periodically on a variety of subjects--from the work of his Vancouver colleagues, to the art of such diverse figures as Edouard Manet, On Kawara, and Dan Graham, to the important role of photography in Conceptual art. Wall's own work takes center stage in the many interviews he has granted over the past two decades. Both the essays and the interviews are indispensable to the study of Wall's work, which will be the subject of a major American traveling retrospective, with stops in New York, Chicago and San Francisco, throughout 2007. Thanks to Wall's wide-ranging curiosity, nimble mind, and articulate voice, the texts are also of considerable interest outside of the context of his own oeuvre. This generous selection of 14 essays and 23 interviews from the past 25 years is the first collection of Wall's texts to be published in English, and as such, is an instant collector's item. This affordable volume also includes 120 black-and-white illustrations for reference purposes.
Published by The Museum of Modern Art, New York. Essay by Peter Galassi. Afterword by Richard Benson.
Lee Friedlander is one of the most important of the 1960s generation of photographers for whom the posture of disinterested objectivity served as a vehicle for passionate personal inquiries. His large body of work--he most often produces extended series of pictures on a chosen theme, then publishes them in book form--is broad in subject matter and supple and complex in style, and focuses on what he calls America's “social landscape.” At the same time, he has pursued a playful dialogue with artistic tradition--as though open-eyed curiosity about the world, and a sophisticated taste for the wiles of picture-making were one and the same thing. Lee Friedlander takes a deep critical look at Friedlander's abundantly productive career. Including over 500 photographs grouped by series, and an incisive essay by Peter Galassi, Chief Curator of Photography at The Museum of Modern Art, this oversized publication is the most comprehensive review of the photographer's career to date.
Published by The Museum of Modern Art, New York. Essay by Peter Galassi.
On the morning of May 18, 1980, the Mount St. Helens volcano in the forests of Washington State exploded. First, months of building interior pressure triggered a massive landslide, removing the entire north face of the mountain. This avalanche was followed immediately by a violent eruption that ultimately expelled over a quarter-billion cubic yards of magma. The blast devastated roughly 250 square miles, leaving behind scoured rock, millions of fallen trees, and mud-choked river valleys. Yet the land returned, gradually restoring and regenerating itself. Beginning in 1981 and continuing until 1990, photographer Frank Gohlke made regular visits to the devastated land around Mount St. Helens. This collection of photographs of biblical grandeur records both the ravaged terrain around the volcano in the early years after the eruption, and the regrowth--slow but extraordinary--of the region's natural forest. Mount St. Helens: 1981 to 1990 contains a dramatic selection of these photographs; an introductory essay on the volcanology and geology of the Pacific Northwest by Kerry Sieh and Simon LeVay; and notes on the images by the photographer himself.
Published by The Museum of Modern Art, New York. Introduction by John Bowlt. Preface by Peter Galassi. Translated by Jamey Gambrell
This book contains all of the diaries, programs, essays, and major articles written by Alexander Rodchenko between 1911 and 1956. The word "experiment" was a key word for the artist, who conceived of his multimedia oeuvre as one huge experiment. Referred to by his friends and contemporaries as "a scout of the future," Rodchenko sought new paths in graphic design and painting, sculpture and architecture, poster design and cinema, photography and book design, and furniture and theatre design. The first chapter in this volume covers the early life of Rodchenko and relates to the time of his studies in the Kazan art school. His diaries from 1911-15 relate the vivid atmosphere of the school, explain the artist's early tastes for theatrical, oriental and medieval motifs, and recall the moments when he first met Varvara Stepanova, his lifetime partner and fellow artist. The second chapter covers the most active years of the Russian avant-garde movement: 1916-21. Here Rodchenko is linked to Vladimir Tatlin and his evolution as a non-objective painter comes about. His writings from this period explore his interest in the artistic process, in the way ideas are born, and often make comparisons with other artistic trends of the time: suprematism, cubism, and impressionism. The third chapter runs through the 20s and the height of the constructivist movement, when Rodchenko became one of the leading designers of the time. This chapter is the most comprehensive, featuring writings dedicated to industrial design education, graphic design, advertising, photomontage and photography. The fourth chapter reveals the artist's mood and the general Soviet culture situation of the 30s, a time of political change, accusations of formalism, and great success in photography. The last chapter is dedicated to the war and postwar period and contains only diary texts in which the artist recounts his family's evacuation to the country, his subsequent hard living and working conditions, as well as his musings on the cultural politics of the time and life in general.
Originally published in 1996 in Moscow by Rodchenko's family, Experiments for the Future appears here in its first English edition. This new edition contains additional material and features a different design and images, but the content remains essentially unchanged.
Published by The Museum of Modern Art, New York. Artwork by Philip-Lorca diCorcia. Text by Peter Galassi.
Back in Print! Philip-Lorca diCorcia's inventively staged and exquisitely crafted color photographs occupy a special place in contemporary art. Operating in the gap between postmodern fiction and documentary fact, between slick convention and fresh perception, they deliver a powerful emotional charge. The 55 color plates in this book, dating from 1978 to 1994, trace the evolution of a compelling and influential body of work. Beginning with enigmatic domestic scenarios whose protagonists are the photographer's family and friends, diCorcia moved on to an ambitious series in which Hollywood drifters and hustlers are pictured as emblematic figures of contemporary America. He proceeded to deploy his probing curiosity amid the energy and turmoil of big-city streets, reinvigorating a rich photographic tradition that had been dormant for nearly a generation.
Published by The Museum of Modern Art, New York. Essays by Peter Galassi and Cindy Sherman.
Cindy Sherman's Untitled Film Stills, a series of 69 black-and-white photographs created between 1977 and 1980, is widely seen as one of the most original and influential achievements in recent art. Witty, provocative and searching, this lively catalogue of female roles inspired by the movies crystallizes widespread concerns in our culture, examining the ways we shape our personal identities and the role of the mass media in our lives. Sherman began making these pictures in 1977 when she was 23 years old. The first six were an experiment: fan-magazine glimpses into the life (or roles) of an imaginary blond actress, played by Sherman herself. The photographs look like movie stills--or perhaps publicity pix--purporting to catch the blond bombshell in unguarded moments at home. The protagonist is shown preening in the kitchen and lounging in the bedroom. Onto something big, Sherman tried other characters in other roles: the chic starlet at her seaside hideaway, the luscious librarian, the domesticated sex kitten, the hot-blooded woman of the people, the ice-cold sophisticate and a can-can line of other stereotypes. She eventually completed the series in 1980. She stopped, she has explained, when she ran out of clichés.
Other artists had drawn upon popular culture but Sherman's strategy was new. For her the pop-culture image was not a subject (as it had been for Walker Evans) or raw material (as it had been for Andy Warhol) but a whole artistic vocabulary, ready-made. Her film stills look and function just like the real ones--those 8 x 10 glossies designed to lure us into a drama we find all the more compelling because we know it isn't real. In the Untitled Film Stills there are no Cleopatras, no ladies on trains, no women of a certain age. There are, of course, no men. The 69 solitary heroines map a particular constellation of fictional femininity that took hold in postwar America--the period of Sherman's youth and the starting point for our contemporary mythology. In finding a form for her own sensibility, Sherman touched a sensitive nerve in the culture at large. Although most of the characters are invented, we sense right away that we already know them. That twinge of instant recognition is what makes the series tick and it arises from Cindy Sherman's uncanny poise. There is no wink at the viewer, no open irony, no camp.
In 1995, The Museum of Modern Art purchased the series from the artist, preserving the work in its entirety. This book marks the first time that the complete series will be published as a unified work, with Sherman herself arranging the pictures in sequence.
Cindy Sherman is a ground-breaking American photographer, born in 1954. She began her "Film Stills" series at the age of 23, gaining early recognition, and has followed it with remarkable experiments in color photography. Her art has won her wide recognition and praise, and been collected and exhibited by major museums throughout the world since 1980. A major retrospective exhibition of her work was shown at The Museum of Modern Art, New York; the San Francisco Museum of Modern Art; the Walker Art Center, Minneapolis; and the Dallas Museum of Art. Sherman is the recipient of a MacArthur Foundation "genius" award and a John Simon Guggenheim Memorial Fellowship. She is represented by Metro Pictures gallery in New York.
Published by The Museum of Modern Art, New York. Edited by Peter Galassi and Susan Kismaric. Essays by William Safire and Peter Galassi.
Selected from 17 million prints preserved in the archives of The New York Times, the spectacular photographs in this book provide a spellbinding sample from the rich archive that is the twentieth century, as seen through the eyes of a great newspaper. Revealed is the extraordinary and omnivorous breadth of photography's gaze: vivid pictures of both World Wars; of presidents, mayors, dictators and celebrities; of Beatles fans and Halley's comet; of victims and perpetrators, riots and disasters; of Bill Bradley on the court and Willie Mays sliding into home--and a great many more. Underlying them all is the gripping immediacy that makes news photography not only an indispensable presence in the daily paper but a vital part of history. This book includes an illustrated chronology that traces the evolution of the technology and business of news photography, with special attention to the role of The New York Times and to the recent rise of digital technologies in newspaper production. Originally published to accompany an exhibition at The Museum of Modern Art, New York.
Published by The Museum of Modern Art, New York. Afterword by Peter Galassi.
The Brown Sisters presents a photographic project as compelling in effect as it is simple in conception: four women, 25 years. Each year since 1975 photographer Nicholas Nixon has made a group portrait of his wife and her three sisters facing the camera in the same order: Heather, Mimi, Bebe, and Laurie. The series now measures a quarter century in the lives of the sisters, who in 1975 ranged in age from 15 to 25; each picture is dense with allusions to the year of experience that separates it from the one before.
Published by The Museum of Modern Art, New York. Essay by Peter Galassi. Foreword by Glenn D. Lowry.
Walker Evans' radical photography of the 1930s demonstrated that unembellished photographic fact could serve as a highly poetic language. These works expanded the potential of the art of photography and at the same time defined a lasting iconography that recognized advertising, movies and car culture as central images of modern American identity. Walker Evans & Company focuses on Evans as a central figure in the arts of the 1920s and 30s, and includes works in photography and other mediums that influenced Evans or were influenced by him, or which resonate in a significant way with aspects of his imagery, sensibility and style. Among the other artists whose work is featured are: Eugene Atget, Mathew Brady, Stuart Davis, Robert Frank, Lee Friedlander, Edward Hopper, Roy Lichtenstein, Ed Ruscha, August Sander, Andy Warhol and Edward Weston. Published in conjunction with the second of three cycles of millennial exhibitions at The Museum of Modern Art, New York.
Published by The Museum of Modern Art, New York. Essay by Peter Galassi. Foreword by Glenn D. Lowry.
The big, bold, seductive and surprising color photographs of German photographer Andreas Gursky set forth a stunning image of our contemporary world of high-tech industry, international markets, big-time sports, fast-paced tourism and slick commerce. Tracking the zeitgeist from his native Germany to such far-flung places as Hong Kong, Brasilia, Cairo, New York, Shanghai, Stockholm, Tokyo, Paris, Singapore and Los Angeles, Gursky has earned acclaim at the leading edge of contemporary art with a polished signature style that draws upon a great diversity of ideas, precedents and techniques. Created in collaboration with the artist, this oversize book surveys the fullness of his work to date with gorgeous color plates, generous two-page details, and a wealth of supporting illustrations. The first in-depth study in English of Gursky's art, this book was published in conjunction with a major retrospective at The Museum of Modern Art, New York.
Published by The Museum of Modern Art, New York. Edited by Magdalena Dabrowski, Leah Dickerman and Peter Galassi. Essays by Magdalena Dabrowski, Leah Dickerman, Peter Galassi, Aleksandr Lavrent'ev and Varvara Rodchenko. Foreword by Glenn D. Lowry.
Alexander Rodchenko was the most important and versatile member of the Constructivist movement, the progressive artists who created a new art after the Russian Revolution of 1917. This comprehensive book, rich in illustrations and relying extensively on new research from Russia, accompanied the first major retrospective exhibition in the United States of Rodchenko's work at The Museum of Modern Art, New York, in 1998. In 1921 Rodchenko left behind his innovative work in abstract painting and sculpture, committing himself to applied art in the service of revolutionary ideals. Included in this first full and coherent overview are not only Rodchenko's painting and sculpture but also his diverse experiments and lasting achievements in photocollage, photography, and design of all kinds, from books, posters, magazines, and advertising, to furniture.
Published by The Museum of Modern Art, New York. Edited by John Elderfield. Introduction by Glenn D. Lowry.
In December 1997, The Museum of Modern Art, New York, chose as architect for its ambitious expansion program Yoshio Taniguchi, designer of several admired museums in his native Japan. Since that time, the project, which is about to commence construction, and will temporarily relocate the Museum and its forthcoming exhibitions to Queens, has been a focus of international attention within the worlds of art, architecture, and design. In an appropriate departure from the Studies in Modern Art series' goal of fostering and sustaining the study of the Museum's own unparalleled collection of art works and archival material, presented here is a detailed examination of an example of institutional decision-making in a context of great practical and aesthetic complexity. Included are transcripts of conferences and lectures on the future of art museums and an illustrated presentation of charettes by the 10 architects invited to submit proposals.