Published by MFA Publications, Museum of Fine Arts, Boston. Text by Anne Nishimura Morse, Anne E. Havinga, Michio Hayashi, Marilyn Ivy, Tomoko Nagakura.
The catastrophic events of March 11, 2011—the earthquake, tsunami and ensuing nuclear meltdown of the Fukushima Daiichi Nuclear Power Plant—have been called "the triple disaster" in Japan. Among the first artists to respond to these experiences were photographers. Some attempted to document the devastation, while others ruminated on the meaning and use of photography in the wake of tragedy. As the immediate effects of the earthquake and tsunami gave way to nuclear disaster, artists began to respond to the challenges of depicting an invisible threat that calls up the collective memory of Hiroshima and Nagasaki. Artists include Takashi Arai, Nobuyoshi Araki, Ishu Han, Naoya Hatakeyama, Takashi Homma, Kikuji Kawada, Rinko Kawauchi, Keizo Kitajima, Kozo Miyoshi, Masato Seto, Lieko Shiga, Shimpei Takada, Masaru Tatsuki, Daisuke Yokota and Tomoko Yoneda.
Published by Irish Museum of Modern Art. Edited by Mary Cremin. Introduction by Enrique Juncosa. Foreword by Rena De Sisto. Text by Matthew S. Witkovsky, Anne Havinga, Karen Haas, Mary Cremin.
Conversations comprises a selection of more than 100 photographs drawn from the Bank of America Collection. The publication traces the history of photography through the eyes and imagination of iconic photographers such as Harry Callahan, Robert Frank, Dorothea Lange, Paul Strand and Hiroshi Sugimoto.
Published by MFA Publications, Museum of Fine Arts, Boston. Text by Anne Havinga, Karen Haas, Nancy Keeler.
This latest volume in the MFA Highlights series showcases over 100 stunning photographs from the museum's collection. An extensive introductory essay traces the aesthetic and technical history of photography as an art form, from the early days of the camera obscura through the invention of the daguerreotype and calotype and into the present digital age. In the selection of objects that compose the body of this beautifully designed volume, careful juxtapositions emphasize the graphic qualities of the photos, and extended captions compare and contrast images from different times and places, underscoring shared techniques, sensibilities or subjects. A wide range of photographers--from early experimenters such as Eugène Cuvelier, Charles Marville and Anna Atkins to modern giants Alfred Stieglitz, Ansel Adams and Edward Weston, as well as contemporary practitioners such as James Nachtwey, Hiroshi Sugimoto and Loretta Lux--are represented by portraits and figure studies, city scenes and still lifes, landscapes and seascapes.
Published by MFA Publications, Museum of Fine Arts, Boston. Essays by Fronia E. Wissman, Karen E. Haas, Anne Havinga, Sue Welsh Reed and Barbara Stern Shapiro. Introduction by George T.M. Shackelford.
This large, lavish journey through the art of the 19th-century French landscape offers a host of masterful works, among them Corot's Forest of Fontainbleau, Millet's End of the Hamlet of Gruchy, Renoir's Rocky Crags at L'Estaque, and Monet's Rue de la Bavolle, Honfleur. As is often the case, however, some of the most wonderful things to see are also the least expected: rare and unusual monotypes by Degas, three states of a softground etching by Pissarro, and numerous works by some of their lesser-known but equally important contemporaries. Unlike previous books on the topic, Impressions of Light presents a unique and stunningly complete group of work that introduces a new level of complexity into the discussion of French landscapes. Rather than considering the landscape as a steady, linear development and the product of a single medium, it takes into account the many crosscurrents and intersecting developments in French art, from the Barbizon school through the post-Impressionist period. In addition, it studies the landscape in a variety of media--painting, prints, and photography--exploring both the individual artists' perceptions and the ways in which they influenced each other. With over 80 paintings and 70 works on paper from the Museum of Fine Arts, Boston's collections, and published to accompany a major exhibition, Impressions of Light encompasses more than 100 years and 56 artists working in a dozen different media. It holds the broadest possible view, yet never loses sight of the extraordinary intricacy that makes the landscape so enduringly appealing.
Published by MFA Publications, Museum of Fine Arts, Boston. By Sue Davidson Lowe. Foreword by Anne Havinga.
Stieglitz is as scholarly a production as anyone could wish, crammed with facts and trailing informative appendixes. It is also a loving and occasionally exasperated look at a contentious relative and the intimate circumstances that formed him. --Time
A tireless exponent of the avant garde and of photography as a fine art, as well as a consummate photographer in his own right, Alfred Stieglitz was both the embodiment of rebellious New York modernism and an oddly domestic man who retained a lifelong attachment to his family's country estate. In Stieglitz: A Memoir/Biography, author Sue Davidson Lowe, Stieglitz's grand-neice, presents the man in all of his complexity, tracing his background and revealing the interplay between his character and his multifaceted career. She offers new insight into Stieglitz's relationships with artists such as Marin, Hartley, Dove, Steichen and O'Keefe; his pioneering promotion of Europe's most radical artists through the Photo-Secession group and the 291 gallery; and his creation of some of our century's most enduring photographic images. Gracefully weaving personal reminiscence and verifiable fact as she lucidly interweaves Stieglitz's career with his personal life, Lowe presents a uniquely compelling and intimate portrait of a hugely influential, hugely enigmatic American artist.