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.
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.
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.
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).
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.
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.
An exuberant chromatic dialogue depicting 1970s America in crisis and liberation.
Between 1973 and '76, Mitch Epstein (born 1952) photographed in American cities--New York, Los Angeles and New Orleans, among others. He was initially shooting in black and white as a student of Garry Winogrand, when he asked his teacher, "Why not color?" With Winogrand's blessing, Epstein shot his first rolls of Kodachrome. Silver + Chrome is a chronicle of his three years alternating between color and black and white, before eventually committing to color.
This book contains Epstein's earliest work, virtually none of which has been seen before. In these kinetic tableaux, the artist's exuberance is tamed, just barely, by his formal intelligence. He depicts American city life as it undergoes taboo-shattering sexual liberation, economic crises and the repercussions of a boondoggle war in Vietnam, immersing us in the urban chaos of this complicated time.
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.
À l'occasion du 50e anniversaire de la première publication du livre mythique de Robert Frank, cette réédition en anglais revue et corrigée par le photographe lui-même est un véritable événement !
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.
Réédition d'un ouvrage publié chez Aperture en 1983. En 1970, Robert Adams et sa famille observèrent une colonne de fumée au-dessus du laboratoire national d'armement nucléaire de Rocky Flats à Denver. Après avoir en vain chercher à savoir si le noyau avait été touché, Robert Adams décida d'enregistrer l'environnement proche du laboratoire, qui pourrait disparaître si une catastrophe nucléaire arrivait. Il a alors photographié la vie quotidienne, les habitants et les activités de Denver et sa banlieue, dans l'ombre de Rocky Flats, représentant une menace toujours existante aujourd'hui bien que sous une autre forme.
Cette série a été réalisée en 1957 sur la demande du magazine Life, alors que Gordon Parks y était photographe depuis presque 10 ans, étant le premier afro-américain à occuper ce poste. Il s'est lancé dans un voyage de 6 semaines à travers les Etats-Unis, se concentrant sur New York, Chicago, San Francisco et Los Angeles et travaillant en couleur, chose qu'il avait peu faite jusqu'alors. Le résultat, un photo-essai de 8 pages, fut reconnu pour sa sophistication esthétique, loin du pur documentaire, mais aussi pour sa capacité à montrer de l'empathie et à remettre en cause les stéréotypes sur la criminalité, le rôle de la police et la violence de l'incarcération. Le présent ouvrage reprend le déroulé des 8 pages originelles auxquelles il ajoute de nombreuses images inédites de la série.
A photo-novel of Dayanita Singh's earliest years as a photographer.
A return to a time when Dayanita Singh (born 1961) did not yet consider herself a photographer, Let's See is the probing remembrance of "an eye I no longer have access to." Singh has recently poured through 40 years of her archive--80% of which remains unseen--exploring scans of her contact sheets and being amazed by the gentle and tender images from the 1980s and '90s she had since forgotten--hostel roommates, friends with whom she lived, family, weddings, funerals; portraits of herself and those who would become important characters in her life: her mother, Nony Singh, the musician, Zakir Hussain, and Mona Ahmed, whom she depicted in the emotive visual biography Myself Mona Ahmed (2001).
Singh's first camera, a Pentax ME Super with a 50 mm lens, was a gift from the German publisher Ernst Battenberg, and with it she "made photos of everything I could, trying to make a roll of film last as long as possible," creating contact sheets of all her images, but realizing the rare luxury of an individual print only for a publication or a book project. "I call this book Let's See," says Singh, "because these images are about exactly that: how we see, what we don't see, what only the camera sees...."
Entre 2012 et 2013, la photographe Lise Sarfati a patienté des jours pour capturer cet instant de lumière tant attendu dans différents endroits de Los Angeles. Le soleil haut, la ville quasiment désertée, peuplée seulement par quelques hommes qui marchent sans destination dans un arrière-plan urbain si caractéristique de la cité des anges sont l'essence de ses photographies hopperiennes.
La série Election Eve a été réalisée en octobre 76, alors que le photographe se déplace de Memphis à la petite ville de Plains en Géorgie, fief de Jimmy Carter qui est élu président des Etats-Unis en novembre de la même année. A l'époque, Eggleston rassemble ces 100 photos dans deux volumes toilés, qu'il édite à seulement 5 exemplaires. Steidl reproduit ici cette séquence de photos à l'identique, dans un seul volume en demi-toile.
Dans ce nouveau livre, le photographe Robert Frank revient sur son journal visuel (2010-2017) pour en proposer une version dans laquelle il juxtapose des photos emblématiques de toute sa carrière à des clichés récents plus personnels accompagnés de fragments de texte souvent autobiographiques.
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.
An unsettling seven-year chronicle of severe resource depletion across Africa.
In Edward Burtynsky's recent photographs, produced across the African continent, the patterns and scars of human-altered landscapes initially appear to form an abstract painterly language; they reference the sublime and often surreal qualities of human mark-making. While chronicling the major themes of terraforming and extraction, urbanization and deforestation, African Studies conveys the unsettling reality of sweeping resource depletion on both a human and industrial scale.
From natural landscapes to artisanal mining and mechanized extraction, several distinct chapters culminate with China in Africa: a series depicting the economic inroads being made by China, including the interiors of gigantic newly built manufacturing plants. This project brings together the work of seven years, the latest installment in Burtynsky's ongoing oeuvre.
Edward Burtynsky (born 1955) is regarded as one of the world's most accomplished contemporary photographers. Since the early 1980s Burtynsky's imagery has explored the collective impact we as a species are exerting on the environment. Renowned for his sustained investigation of the "indelible human signature" caused by industrial incursions into the landscape, previous projects have explored mining, quarrying, manufacturing, agriculture, shipping, the production of oil, and the development of China. In addition, he has made three award-winning films with director Jennifer Baichwal, Manufactured Landscapes (2006), Watermark (2013) and Anthropocene: The Human Epoch (2018). Burtynsky's books with Steidl are China (2005), Quarries (2007), Oil (2009), Water (2013), Salt Pans (2016), Anthropocene (2018) and Natural Order (2020).
Cette rétrospective réalisée avec la collection Howard Greenberg accompagne une exposition monographique aux Rencontres d'Arles 2016. On y redécouvre le new-yorkais Sid Grossman, cofondateur de la Photo League en 1936, qui enseigna notamment à Lisette Model, Arthur Leipzig ou Louis Stettner. Entre document et street photography, il s'intéressa notamment aux quartiers pauvres de Harlem et Chelsea, dénonçant l'insalubrité des bâtiments. Souçonné d'être communiste, il fut finalement blacklisté par le FBI en 1947. Radicale en son temps, son oeuvre aujourd'hui remise en avant illustre l'énergie expressionniste de la « New York School » des années 1950.
Publié en 1980, From the Missouri West marque un tournant dans l'histoire de la photographie de paysages en représentant l'immensité du grand ouest dans une perspective dénuée de tout romantisme. Cette réédition dans un format plus grand redessine les liens entre le travail de Robert Adams et celui de ces photographes tels Timothy O'Sullivan qui, il y a plus d'un siècle, furent les premiers à s'intéresser aux paysages du grand ouest.
Réédition actualisée du célèbre livre de David Goldblatt, publié une première fois en 1975. L'ouvrage, remarquablement édité, comprend une centaine de photographies en noir et blanc. Les images sont prolongées par la reprise de l'introduction de la première édition, un texte de l'écrivain Antjie Krog, puis par un texte d'une dizaine de pages de David Goldblatt et une postface inédite de sa fille.
