Museum Exhibition Catalogues, Monographs, Artist's Projects, Curatorial Writings and Essays
Magnum photographer, Christopher Anderson, is one of the leading photographers of his generation. Along with his contemporaries such as Alex Majoli, Alec Soth, and Paolo Pellegrin he has been on the Sorefront of the new documentary photography. For the past ten years, his work has been regularly featured in magazines around the world such as Newsweek, The New York Times Magazine, The New Yorker, V magazine and National Geographic. He has earned some of photography's highest honors including the Robert Capa Gold Medal and World Press Photo Awards. Christopher's first monograph, Nonfiction (DeMo 2003-out of print), is now a collectors item. Christopher's photographs have been exhibited widely in Europe, and North and South America.The son of a preacher from Canada, Christopher worked in construction to earn enough money to buy his first camera. He set about teaching himself photography and at age 23 began traveling widely to make pictures. His curiosity led him to dangerous places. Although he rejects the term war photographer, Christopher has spent the last decade often photographing in conflict areas. In 2000, he boarded a handmade, wooden boat with Haitian refugees trying sail to America.
New York–based Magnum photographer Christopher Anderson (born 1970) captures portraits, candid moments and still lifes throughout the United States, France, Italy, Spain and Germany. Bleu Blanc Rouge presents Anderson’s playful series of color photographs in a magazine-like style, allowing readers to locate recurring visual elements.
As one of today’s most influential political photographers, Christopher Anderson has enjoyed rare behind-the-scenes access to the inner workings of American political theater. Stump collects his color and black-and-white photographs from recent campaign trails--particularly from the 2012 Obama/Romney contest--that scrutinize the highly rehearsed rhetorical masks of, among others, Barack and Michelle Obama, Mitt Romney, Paul Ryan, Newt Gingrich, Bill Clinton and others (including audience members at rallies). Removed from the context of reportage and sequenced here, these images accumulate a mesmerizing quality that is both frightening and hilarious. They are interspersed with other campaign-trail images, of fireworks, flags and other props of high pomp that attend such occasions. John Heilemann, author of the New York Times bestseller Game Change (on the 2008 presidential race), contributes an essay on Anderson’s work.
Capitolio is New York documentary photographer Christopher Anderson's cinematic journey through the upheavals of contemporary Caracas, Venezuela, in the tradition of such earlier projects as William Klein's New York (1954-55) and Robert Frank's The Americans (1958). It presents a poetic and politicized vision, by one of today's finest documentary photographers, of a city and a country that is ripping apart at the seams under the stress of popular unrest, and whose turmoil remains largely unreported by Western media. No stranger to such fraught situations (he covered the 2006 conflict between Hezbollah and Israel from its inception), Anderson notates the country's current incongruities, where the violent and the sensual intermingle chaotically. "The word 'capitolio' refers to the domed building that houses a government," writes Anderson, elaborating on the title of this volume; "here, the city of Caracas, Venezuela, is itself a metaphorical capitolio building. The decaying Modernist architecture, with a jungle growing through the cracks, becomes the walls of this building and the violent streets become the corridors where the human drama plays itself out in what President Hugo Chavez called a 'revolution.'"