Catalogue de l'exposition consacrée à Robert Frank au Jeu de Paume en 2009 : Paris, Un regard Etranger, Les Américains. Disponible en français à la Sodis (9783865215444).
Depuis plus de trente ans, les photographies de Thibaut Cuisset évoluent entre les problématiques liées au paysage, à l'environnement et à la notion de territoire. Avec l'acuité contemporaine d'un regard digne des photographes américains de la New Topographics, Thibaut Cuisset s'empare de la singularité de nos campagnes, sans fioritures ni nostalgie. Ses images montrent que le territoire n'a rien de figé, qu'il est le résultat de l'histoire, d'interventions multiples et toujours actives. Ce façonnement perpétuel est le sujet que la photographie vient ici ausculter, authentifier. Avec une grande précision et avec virtuosité dans la retenue des couleurs, elle témoigne des équilibres et bouleversements de nos campagnes.
Typologie libre de toute idée d'inventaire ou d'anecdote, ce livre compose un atlas sensible du monde d'aujourd'hui ; oeuvre autonome d'un grand artiste mais aussi hommage fidèle et précis d'un promeneur attentif à la grande diversité du paysage français.
Les archives du photographe américain Saul Leiter ne finissent pas de nous faire découvrir des trésors, comme ces séries de nus jusque-là inédits. In My Room présente une étude approfondie du nu, à travers des photos intimes de femmes qu'il rencontrait et capturait de son objectif. Dans ces images en noir et blanc les corps se dévoilent pudiquement à la lumière naturelle de son atelier de l'East Village à New York, révélant une collaboration unique entre Leiter et ses sujets.
Le projet commence dès l'arrivée du jeune Leiter à New York et se terminera à la fin des années 60. Dans les années 1970, l'artiste avait envisagé de faire un livre de ses nus qui ne fut jamais réalisé.
Saul Leiter a toujours préféré la solitude et résisté à tout type d'explication ou d'analyse de son travail. Avec ln My Room, le photographe emmène le lecteur dans son monde privé, tout en conservant son sens aigu de mystère.
The starting point for this book is Evelyn Hofer's Dublin: A Portrait, which enjoyed great popularity upon its original publication in 1967, and featured an in-depth essay by the well-known British critic and memoirist V.S. Pritchett. Dublin: A Portrait is an example of Evelyn Hofer's (1922-2009) perhaps most important body of work, namely her city portraits--books that present comprehensive prose texts by renowned authors alongside her self-contained visual essays with their own narratives. Dublin: A Portrait was the last book published in this legendary series.
This newly conceived edition of Dublin focuses on the photos Hofer took on behalf of the publisher Harper & Row in 1965 and 1966. In Dublin Hofer repeatedly turned her camera to sights of the city, but mainly to the people who constituted its essence. She made numerous portraits--of writers and public figures, or unknown people in the streets. Her portraits give evidence of an intense, respectful engagement with her subjects, who participate as equal partners in the process of photographing.
An expanded edition of Parks' classic account of race relations in America, with previously unpublished images and texts.
This expanded edition of Gordon Parks: Segregation Story includes around 30 previously unpublished photographs, as well as enhanced reproductions created from Parks' original color transparencies; newly discovered descriptions Parks wrote for the photographs; a manuscript of film-developing instructions and captions Parks authored with Samuel F. Yette; previously published texts by the late art historian Maurice Berger and the esteemed journalist and civil rights activist Charlayne Hunter-Gault; and a new essay by artist Dawoud Bey.
After the photographs were first presented in a 1956 issue of Life magazine, the bulk of Parks' assignment was thought to be lost. In 2011, five years after Parks' death, the Gordon Parks Foundation found more than 200 color transparencies belonging to the series. In 2014 the series was first published as a book, and since then new photographs have been uncovered.
In the summer of 1956, Life magazine sent Gordon Parks to Alabama to document the daily realities of African Americans living under Jim Crow laws in the rural South. The resulting color photographs are among Parks' most powerful images, and, in the decades since, have become emblematic representations of race relations in America. Pursued at grave danger to the photographer himself, the project was an important chapter in Parks' career-long endeavor to use the camera as a weapon for social change.
Gordon Parks (1912-2006) was born into poverty and segregation in Fort Scott, Kansas, in 1912. An itinerant laborer, he worked as a brothel pianist and railcar porter, among other jobs, before buying a camera at a pawnshop, training himself and becoming a photographer. He evolved into a modern-day Renaissance man, finding success as a film director, writer and composer. The first African American director to helm a major motion picture, he helped launch the blaxploitation genre with his film Shaft (1971). Parks died in 2006.
Returning to the original 1987 publication's format, this new edition of Sternfeld's lyrical portrait of America's hopes and sorrows includes previously unseen images.
Born of a desire to follow the seasons up and down America, and equally to find lyricism in contemporary American life despite all its dark histories, American Prospects has enjoyed a life of acclaim. Its pages are filled with unexpected excitement, despair, tenderness and hope. Its fears are expressed in beauty, its sadnesses in irony. Oddly enough, the society it seems to presage has now come to be; the ideas of this book bespeak our present moment.
Often out of print, this new edition of Joel Sternfeld's seminal book returns to the format of the original 1987 edition. All of the now classic images within it?alongside a group of never published photographs?examine a once pristine land safeguarded by Indigenous peoples who needed no lessons in stewardship, and a land now occupied by a mix of peoples hoping for salvation within the fraught paths of late capitalism. The result suggests a vast nation whose prospects have much to do with global prospects, a «teenager of the world» unaware of its strengths, filled with idealism and frequent failings. These pictures see all but judge not.
Joel Sternfeld was born in New York City in 1944. He has received numerous awards including two Guggenheim fellowships, a Prix de Rome and the Citibank Photography Award. Sternfeld holds the Nobel Foundation Chair in Art and Cultural History at Sarah Lawrence College. His books published by Steidl include American Prospects (2003), Sweet Earth (2006), Oxbow Archive (2008), First Pictures (2012), Landscape as Longing (2016) with Frank Gohlke, Rome after Rome (2019) and Our Loss (2019).
Berenice Abbott en 1925 photographiait ses premiers portraits sur le balcon du studio de Man Ray à Paris. Soixantecinq ans plus tard, en 1990, elle prenait son dernier portrait dans un bateau sur le lac d'Hebron dans le Maine, à quelques centaines de mètres du chalet dans lequel elle a passé ses dernières années.
Abbott réalisait généralement ses portraits parisiens dans son propre studio, d'abord 44, rue du Bac, puis 18, rue Servandoni, mais aussi parfois sur place, au domicile du client, comme son premier portrait de James Joyce. En juin 1926, Jan Sliwinski exposa dans sa galerie des photographies de James Joyce, Jean Cocteau, Sylvia Beach, Marie Laurencin ou André Gide parmi tant d'autres. Les hommes et les femmes photographiés par Berenice Abbott étaient liés - socialement, intellectuellement, artistiquement ou sentimentalement. Elle ne photographiait pas des inconnus, à la différence d'Atget, qu'elle contribua à sortir de l'ombre.
Ce livre, conçu par Hank O'Neal, regroupe plus de cent portraits, dont la plupart sont inédits. Les plaques de verre brutes, telles qu'elles sortaient de sa chambre noire, sont présentées avec le recadrage qu'elle souhaitait. Portraits parisiens est un livre rare au service d'une photographe essentielle dans l'art du portrait, de l'architecture ou de la photographie scientifique.
Nouvelle édition revisitée pour un des livres les plus importants de l'histoire de la photo, datant de 1976. De 1972 à 1975, Susan Meiselas a passé ses étés à photographier les strip-teaseuses de foire dans les petites villes de Pennsylvanie et de Caroline du Sud. Elle suivait les performeuses de ville en ville, les photographiait sur scène mais aussi dans leur vie intime, créant des images uniques pour leur approche à la fois empathique et documentaire.
The first ever book on Ellison's lifelong photography practice, from New York scenes to domestic vignettes.
Ralph Ellison is a leading figure in American literature, hailed for his seminal novel Invisible Man (1952), a breakthrough representation of the American experience and Black everyday life. Lesser known, however, is his lifelong engagement with photography. Photographer is the first book dedicated to Ellison's extensive work in the medium, which spans the 1930s to the '90s.
Throughout his life, photography played multiple roles for Ellison: a hobby, a source of income, a notetaking tool and an artistic outlet. During his formative years in New York City in the 1940s, he keenly photographed his surroundings--at times alongside fellow photographer Gordon Parks--with many images serving as field notes for his writing. In the last decades of his life, as he grappled with his much-anticipated second novel, Ellison turned inward, and he studied his private universe at home with a Polaroid camera. At all times his photography reveals an artist steeped in modernist thinking who embraced experimentation to interpret the world around him, particularly Black life in America. In a 1956 letter to fellow writer Albert Murray, Ellison underscored photography's importance to his creative process: "You know me, I have to have something between me and reality when I'm dealing with it most intensely." Accompanying the photographs in this book are several essays situating Ellison's work within his broader career as a writer, as well an excerpt from his 1977 essay "The Little Man at Chehaw Station: The American Artist and His Audience." Ralph Ellison was born in Oklahoma City in 1913. His love of music led him to enroll at Booker T. Washington's Tuskegee Institute in Macon County, Alabama, as a music major. In 1936 he visited New York City, where he befriended established authors and intellectuals who encouraged him to pursue a career in writing. He joined the Federal Writers' Project and began contributing essays and short stories for publications such as New Masses, The Negro Quarterly, New Republic and Saturday Review. By 1945 he had signed a contract to write what was to become Invisible Man (1952); it won the National Book Award in 1953 but remained his only novel published during his lifetime. He published two subsequent collections of essays, Shadow and Act (1964) and Going to the Territory (1986). For many years Ellison worked on a second novel, which he never completed; its central narrative was published posthumously as Three Days Before the Shooting... (2010). Ellison died in 1994.
Recueil de 131 photographies de Robert Frank réalisées dans les années 1950, dont 22 clichés originaux du reportage photo intitulé Américains, enrichis de 100 images inconnues. Né en Suisse, il émigre aux Etats-Unis en 1947 et commence sa carrière de photographe dans des magazines. Il obtient la bourse de la Guggenheim Fondation en 1955, et réalise de nombreux films.
David McMillan est un photographe canadien né en Ecosse qui a commencé sa carrière comme peintre avant de se tourner progressivement vers la photographie. Son intérêt pour les rapports entre l'environnement naturel et le bâti l'a conduit dans la Zone d'exclusion de Tchernobyl où il photographie régulièrement depuis 1994. Les processus de croissance et de dépérissement, les menaces suscitées par la technique, le caractère transitoire ou éphémère de la culture sont des motifs récurrents de son travail qui a été montré sur plusieurs continents dans des expositions personnelles ou de groupe.
Class, race and labor in a Pittsburgh plant: a rarely seen series by Gordon Parks.
By 1944, Gordon Parks had established himself as a photographer who freely navigated the fields of press and commercial photography, with an unparalleled humanist perspective. That year, Roy Stryker--the former Farm Security Administration official who was now heading the public relations department for the Standard Oil Company (New Jersey)--commissioned Parks to travel to Pittsburgh, Pennsylvania, to document the Penola, Inc. Grease Plant.
Employing his signature style, Parks spent two years chronicling the plant's industry--critical to Pittsburgh's history and character--by photographing its workers. The resulting photographs, dramatically staged and lit and striking in their composition, showed the range of activities engaged in by Black and white workers, divided as they were by roles, race and class. The images were used as marketing materials and made available to local and national newspapers, as well as corporate magazines and newsletters. However, they served as much more than documentation of industry, enduring as an exploration of labor and its social and economic ramifications in World War II America by one of the most influential artists of the 20th century.
Featuring more than 100 photographs, many previously unpublished, this is the first book to focus exclusively on Parks' photographs for the Standard Oil Company, illuminating an important chapter in his career prior to his landmark career as a staff photographer for Life.
Gordon Parks was born into poverty and segregation in Fort Scott, Kansas, in 1912. He worked as a brothel pianist and railcar porter, among other jobs, before buying a camera at a pawnshop, training himself and becoming a photographer. In addition to his tenures photographing for the FSA (1941-45) and Life magazine (1948-72), Parks evolved into a modern-day Renaissance man, finding success as a film director, writer and composer. He died in 2006.
Photo albums from the archives of the iconic chronicler of New York's 1980s rap, hip-hop and Black culture.
The influential Brooklyn-based photographer Jamel Shabazz has been making portraits of New Yorkers for more than 40 years, creating an archive of cultural shifts and struggles across the city. His portraits of different communities underscore the street as a space for self-presentation, whether through fashion or pose. In every instance Shabazz aims, in his words, to represent individuals and communities with "honor and dignity." This book--awarded the Gordon Parks Foundation/Steidl Book Prize--presents, for the first time, Shabazz's work from the 1970s to '90s as it exists in his archive: small prints thematically grouped and sequenced in traditional family photo albums that function as portable portfolios.
Shabazz began making portraits in the mid-1970s in Brooklyn, Queens, the West Village and Harlem. His camera was also at his side while working as an officer at Rikers Island in the 1980s, where he took portraits of inmates. This book features selections from over a dozen albums, many previously unseen, and includes his earliest photographs as well as images taken inside Rikers Island, all accompanied by essays that situate Shabazz's work within the broader history of photography.
Born and raised in Brooklyn, Jamel Shabazz (born 1960) picked up his first camera at the age of 15 and began documenting his communities, inspired by photographers such as Leonard Freed, James Van Der Zee and Gordon Parks. His work has been featured in numerous solo and group exhibitions, including those at the Brooklyn Museum, the Studio Museum in Harlem, the J. Paul Getty Museum and the Victoria and Albert Museum. Shabazz is the author of Back in the Days (2001) and Sights in the City (2017).
With nine additional photos, a larger format, and an expanded, up-to-date timeline, this is the new and revised edition of Joel Sternfeld's Walking the High Line, which documents the overgrown elevated freight rail line above New York's West Side before it was transformed into the cherished High Line public park in 2009.
Ce livre est un fac-similé d'un album des Polaroids d'Eggleston assemblé par le photographe lui-même et contenant les seules photos prises avec ce support. Composé de 56 images réalisées avec le Polaroid SX-70 (l'appareil désormais culte produit entre 1972 et 1981) et monté à la main dans un album en cuir noir également produit par la société, Polaroid SX-70 est la première publication des Polaroids d'Eggleston.
Epstein's classic portrayal of boredom and excess, alienation and possibility in late 20th-century America--massively expanded in a reworked edition.
Between the 1970s and '90s, Mitch Epstein (born 1952) photographed the rituals of excess and alienation, jubilance and desire that defined late 20th-century America. These pictures marked the beginning of his photographic inquiry into the American psyche and landscape that has now lasted half a century. Recreation captures the vitality of modern America in a pre-smartphone, less self-conscious time. In these early works, Epstein's wit reigns, along with his singular way of making the mundane startle and the extraordinary appear to perfectly fit in.
This new edition expands on the original Recreation book published by Steidl in 2005. More than a third of these photographs have never been published, and all of them have been reworked with fidelity to the pictorial quality of the films of the era.
A luxurious three-volume box set of previously unseen images from the 1960s and 1970s by the father of American color photography The three volumes of The Outlands are drawn from photographs that William Eggleston (born 1939) made on color transparency film from 1969 to 1974, which formed the basis for John Szarkowski's seminal exhibition of Eggleston's work at the Museum of Modern Art in New York in 1976 with the accompanying book William Eggleston's Guide. However, with the exception of a couple of alternate versions, none of the photographs in The Outlands have been published previously.
The result is revelatory. Starting at almost the exact point on the same street in suburban Memphis where Eggleston made his famous photograph of a tricycle, the work follows a route through the back roads to old Mississippi where he was raised. What is disclosed is a sublime use of pure color hovering in semi-detachment from the forms he records. At the time, Eggleston was photographing a world that was already vanishing. Today, this final installment of his color work offers a view of a great American artist discovering the range of his visual language and an unforgettable document of the Deep South in transition.
A luxuriously produced clothbound presentation of Kentridge's formative print series, with previously unseen images.
This book documents, for the first time, the entire 54 images--as well as an additional 65 plate progressions not previously known to exist--in William Kentridge's important early series of etchings and aquatints, Domestic Scenes (1980). One of today's most respected contemporary artists, Kentridge (born 1955) was only 25 years old and relatively unknown when he made these images, which are pivotal in how they shaped his thinking, studio practice and conceptual approach. Presenting a range of human interactions in domestic environments and revealing influences from Matisse to Francis Bacon, from Giacomo Balla to Niki de Saint Phalle, the prints receive in this book fascinating new commentary from Kentridge, who shares his working methods as well as personal memories of the prints' subjects and creation.
Framed by detailed research by Warren Siebrits, the compiler of Kentridge's upcoming catalogue raisonné of prints and posters, Domestic Scenes provides some of the earliest evidence of the artist "stalking the drawing" returning to the etching plate time and again to make additions and alterations. The book features a tipped-in image and a pull-out poster.
"Chromes effortlessly traces the themes and subject matter which became Eggleston's signature.... Ultimately, it points to the way his eye saw images in a broader scale, which led to his unrivalled knack at creating a balanced composition out of seemingly random unconnected objects." -Wallpaper.
William Eggleston's standing as one of the masters of color photography is widely acknowledged. But the gradual steps by which he transformed from an unknown into a leading artist are less well known. Steidl has undertaken to trace these steps in an ambitious series of publications. Before Color (2010) explored Eggleston's revelatory early black-and-white images, while Chromes is an edit of more than 5,000 Kodachromes and Ektachromes taken from 10 chronologically ordered binders found in a safe in the Eggleston Artistc Trust. This archive had once been used by John Szarkowski, who selected the 48 images printed in Eggleston's seminal book William Eggleston's Guide, while the rest of the archive has remained almost entirely unpublished. Featuring a newly designed slipcase, this three-volume publication presents Eggleston's early Memphis imagery, his testing of color and compositional strategies, and the development toward the "poetic snapshot." In short, Chromes shows a master in the making.
Born in Memphis in 1939, William Eggleston obtained his first camera in 1957 and was later profoundly influenced by Henri Cartier-Bresson's The Decisive Moment. His exhibition Photographs by William Eggleston at the Museum of Modern Art in New York in 1976 was a milestone; in 2008 a retrospective of his work was held at the Whitney Museum of American Art in New York and at Haus der Kunst in Munich in 2009. Eggleston's books include Los Alamos Revisited (2012), The Democratic Forest (2015), Election Eve (2017), Morals of Vision (2019), Flowers (2019), Polaroid SX-70 (2019) and The Outlands (2021).
Entre 1978 et 1989, Mitch Epstein a effectué huit voyages en Inde et réalisé des dizaines de milliers de photographies. Il y a également tourné trois films avec sa femme indienne, la réalisatrice Mira Nair. Les photographies de ce livre sont le résultat du double point de vue inhabituel d'Epstein dans une culture extraordinairement compliquée : à travers sa vie de famille indienne et son travail, il était à la fois un initié et un étranger. Epstein a pu entrer dans un large éventail de sous-cultures qui comprenaient un cabaret de strip-tease, le Royal Bombay Yacht Club, des plateaux de tournage de Bollywood, une ancienne alliance punjabi et des pèlerins religieux musulmans et hindous. In India est le fruit de l'expérience profonde et étendue d'Epstein de l'Inde, où des mondes séparés ont convergé.
