"Conversations is a landmark series in photography, featuring extensive interviews by major international critics with living masters on aesthetics, craft, and culture. The book traces the heritage of the medium in fascinating, informal discourses on topics ranging from the personal to the political, covering intimate detail and theoretical background alike. Complete with biographies, bibliographies, and self-portraits of each featured artist, it is both a vital record of contemporary photography and an engaging read."--BOOK JACKET.
Through conversations held with fifteen of the most accomplished contemporary cinematographers, the authors explore the working world of the person who controls the visual look and style of a film. This reissue includes a new foreword by cinematographer John Bailey and a new preface by the authors, which bring this classic guide to cinematography, in print for more than twenty-five years, into the twenty-first century.
An intimate meditation on photography for the ages, curated around 120 epochal photographs. In On Photographs, curator and writer David Campany presents an exploration of photography in 120 photographs. Proceeding not by chronology or genre or photographer, Campany's eclectic selection unfolds according to its own logic. We see work by Henri Cartier-Bresson, William Eggleston, Helen Levitt, Garry Winogrand, Yves Louise Lawler, Andreas Gursky, and Rineke Dijkstra. There is fashion photography by William Klein, one of Vivian Maier's contact sheets, and a carefully staged scene by Gregory Crewdson, as well as images culled from magazines and advertisements. Each of the 120 photographs is accompanied by Campany's lucid and incisive commentary.
In a richly illustrated essay, curator and critic Antwaun Sargent addresses a radical transformation taking place in fashion, art, and the visual vocabulary around beauty and the body. In The New Black Vanguard, fifteen artist portfolios and a series of conversations feature the brightest contemporary fashion photographers. Their images and stories chart the history of inclusion (and exclusion) in the creation of the Black fashion image, while simultaneously proposing a brilliantly reenvisioned future.
Photography Is Magic draws together current ideas about the use of photography as an invaluable medium in the contemporary art world. Edited and with an essay by leading photography writer and curator Charlotte Cotton, this critical publication surveys the work of a diverse group of artists, many working at the borders of the "art world" and the "photography world," all of whom are engaged with experimental ideas concerning photographic practice and its place in a shifting photographic landscape being reshaped by digital techniques. Readers are shown the scope of photographic possibilities in the context of the contemporary creative process. From Michele Abeles and Walead Beshty to Daniel Gordon and Matthew Lipps, Cotton has selected artists who are consciously reframing photographic practices using mixed media, appropriation and a recalibration of analog processes. Cotton brings these artists together around the idea of magic, the properties of illusion and material transformation that uniquely characterize photography. Beautifully produced and critically rigorous, Photography Is Magic is aimed at younger photo aficionados, students and anyone interested in gaining a deeper understanding of contemporary photography. It includes images and text by more than 80 artists, including Sara Cwynar, Shannon Ebner, Annette Kelm, Josh Kline, Elad Lassry, Jon Rafman, Shirana Shahbazi and Sara VanDerBeek, among many others.
Redheaded Peckerwood is Christian Patterson's second book; a body of photographs, documents and objects that utilizes the underlying narrative of a true crime story as a spine.
"Conversations is a landmark series in photography, featuring extensive interviews by major international critics with living masters on aesthetics, craft, and culture. The book traces the heritage of the medium in fascinating, informal discourses on topics ranging from the personal to the political, covering intimate detail and theoretical background alike. Complete with biographies, bibliographies, and self-portraits of each featured artist, it is both a vital record of contemporary photography and an engaging read."--BOOK JACKET.
A leading critic’s inside story of “the photo boom” during the crucial decades of the 1970s and 80s When Andy Grundberg landed in New York in the early 1970s as a budding writer, photography was at the margins of the contemporary art world. By 1991, when he left his post as critic for the New York Times, photography was at the vital center of artistic debate. Grundberg writes eloquently and authoritatively about photography’s “boom years,” chronicling the medium’s increasing role within the most important art movements of the time, from Earth Art and Conceptual Art to performance and video. He also traces photography’s embrace by museums and galleries, as well as its politicization in the culture wars of the 80s and 90s. Grundberg reflects on the landmark exhibitions that defined the moment and his encounters with the work of leading photographers—many of whom he knew personally—including Gordon Matta-Clark, Cindy Sherman, and Robert Mapplethorpe. He navigates crucial themes such as photography’s relationship to theory as well as feminism and artists of color. Part memoir and part history, this perspective by one of the period’s leading critics ultimately tells a larger story about the crucial decades of the 70s and 80s through the medium of photography.
