Сборники работ

Katalog Museum of Modern Art New York

Working as her own model for more than 30 years, Cindy Sherman has captured herself in a range of guises and personas, from screen siren to clown to aging socialite. Schirmer/Mosel is publishing the catalogue of her upcoming MoMA retrospective plus, on the occasion, reprints of two seminal series, Clowns and History Portraits

Published to accompany the first major survey of Cindy Sherman's work in the United States in nearly 15 years, this publication presents a stunning range of work from the groundbreaking artist's 35-year career. Showcasing approximately 180 photographs from the mid-1970s to the present, including new works made for the exhibition and never before published, the volume is a vivid exploration of Sherman's sustained investigation into the construction of contemporary identity and the nature of representation. The book highlights major bodies of work including her seminal Untitled Film Stills (1977-80); centerfolds (1981); history portraits (1989-90); head shots (2000-2002); and two recent series on the experience and representation of aging in the context of contemporary obsessions with youth and status. An essay by curator Eva Respini provides an overview of Sherman's career, weaving together art historical analysis and discussions of the artist's working methods, and a contribution by art historian Johanna Burton offers a critical re-examination of Sherman's work in light of her recent series. A conversation between Cindy Sherman and filmmaker John Waters provides an enlightening view into the creative process.
Cindy Sherman (born 1954) is widely recognized as one of the most important and influential artists in contemporary art. To create her photographs, she assumes multiple roles of photographer, model, makeup artist, hairdresser and stylist. With an arsenal of wigs, costumes, makeup, prosthetics and props, the artist has altered her physique and surroundings to create myriad tableaux, from screen siren to clown to aging socialite. Over the past 35 years, Sherman has sustained a provocative investigation into the nature of identity, drawn from movies, television, magazines, the Internet and art history. Sherman lives and works in New York City.

Vor genau dreißig Jahren, 1982, hat Schirmer/Mosel das erste Cindy Sherman-Buch überhaupt veröffentlicht und in die Welt getragen. Die 1954 in Glen Ridge, New Jersey, geborene Künstlerin hat seitdem in atemberaubendem Tempo internationale Anerkennung erfahren, die ihren – bisherigen – Höhepunkt jetzt in der großen Einzelaus stellung im New Yorker Museum of Modern Art findet. Es ist uns zugleich Pflicht und Vergnügen, den zur Retrospektive erscheinenden MoMA-Katalog in einer deutschen Ausgabe vorzulegen.
Mit dem vielschichtigen, zwischen Kunst und Photographie anzusiedelnden Werk Cindy Shermans haben sich seit ihren Anfängen vor gut dreißig Jahren Kunstkritiker und -historiker, Soziologen, Feministinnen und Philosophen auseinandergesetzt. Ihre Selbstportraits, die keine sind, bieten nach wie vor Stoff für gesellschaftstheoretische Diskurse über Gender, Repräsentation, Identität, und die oft radikalen thematischen Brüche von Serie zu Serie werfen immer wieder Fragen nach der Person auf, die hinter all diesen Maskeraden und Inszenierungen steckt.
„Möge die wahre Cindy Sherman bitte vortreten“ betitelt Kuratorin Eva Respini in Anlehnung an eine amerikanische Fernsehshow der 50er Jahre ihren Essay für diese Publikation – um zu dem Schluss zu kommen: „Es gibt keine wahre Cindy Sherman, nur unendlich viele Figuren, in denen sich die zahllos vermittelten Bilder widerspiegeln, von denen wir täglich bombardiert werden … und die letzten Endes unser Selbstbild beeinflussen.“
Schirmer/Mosel. Hrsg. von Eva Respini. Mit Beiträgen von Johanna Burton und John Waters. Aus dem Amerikanischen von Matthias Wolf, Saskia Bontjes van Beek und Ursula Wulfekamp. 264 Seiten, 255 Tafeln in Farbe und Duotone. Format: 24,2 x 30,5 cm, gebunden. Deutsche Ausgabe.

A look at the seminal work of this conceptual artist, who photographed her trademark performances and created dramatic narrative collages using the results.

Created in 1975, A Play of Selves is a visual tale of a young woman overwhelmed by her various, conflicting alter-egos and her final triumph over self-doubt. Acted out with sixteen separate characters, the seventy-two photographic assemblages mark Sherman’s earliest explorations of her trademark use of herself as the subject in staged photographs.

Sherman originally shot hundreds of photographs of herself costumed as the various characters in dozens of poses. After cutting out the individual images from black-and-white prints, she used an elaborately formulated, handwritten script to organize the images into the five-act “play.” The piece was first shown in 1975, in Buffalo, New York, where Sherman was a student.

Sharing a passion for fast cars, Steve McQueen (1930-1980) and William Claxton became friends early in McQueen’s career and remained close until his premature death. Claxton frequented McQueen throughout his many incarnations (daredevil, dirt biker, movie star, sports car driver, ladies man, family man, etc.), capturing at every turn another side of McQueen’s enigmatic tough-guy/nice-guy personality. As this photo album demonstrates, Claxton’s photographic talent and sensibilities were perfectly attuned to the actor’s multifaceted character. This is the real Steve McQueen, immortalized by Claxton’s empathetic lens.

50 color and 25 duotone photographs

Brutalist Beauties. Architectural remnants of the USSR

An unrivalled photographic journey through time and geography, Frédéric Chaubin’s Cosmic Communist Constructions Photographed gathers 90 buildings in 14 former Soviet Republics, each built between 1970 and 1990. In their local exoticism, outlandish ideologies, and puzzle of styles, these vast, weird, and wonderful buildings are extraordinary remnants of a fallen system and state.

Elected the architectural book of the year by the International Artbook and Film Festival in Perpignan, France, Frédéric Chaubin’s Cosmic Communist Constructions Photographed explores 90 buildings in 14 former Soviet Republics. Each of these structures expresses what Chaubin considers the fourth age of Soviet architecture, an unknown burgeoning that took place from 1970 until 1990.

Contrary to the 1920s and 1950s, no “school” or main trend emerges here. These buildings represent a chaotic impulse brought about by a decaying system. Taking advantage of the collapsing monolithic structure, architects went far beyond modernism, going back to the roots or freely innovating. Some of the daring ones completed projects that the Constructivists would have dreamt of (Druzhba Sanatorium, Yalta), others expressed their imagination in an expressionist way (Palace of Weddings, Tbilisi). A summer camp, inspired by sketches of a prototype lunar base, lays claim to Suprematist influence (Prometheus youth camp, Bogatyr). Then comes the “speaking architecture” widespread in the last years of the USSR: a crematorium adorned with concrete flames (Crematorium, Kiev), a technological institute with a flying saucer crashed on the roof (Institute of Scientific Research, Kiev), a political centre watching you like Big Brother (House of Soviets, Kaliningrad).

In their puzzle of styles, their outlandish strategies, these buildings are extraordinary remnants of a collapsing system. In their diversity and local exoticism, they testify both to the vast geography of the USSR and its encroaching end of the Soviet Union, the holes in a widening net. At the same time, they immortalize many of the ideological dreams of the country and its time, from an obsession with the cosmos to the rebirth of identity.

About the series:

Bibliotheca Universalis — Compact cultural companions celebrating the eclectic TASCHEN universe at an unbeatable, democratic price!

Since we started our work as cultural archaeologists in 1980, TASCHEN has become synonymous with accessible, open-minded publishing. Bibliotheca Universalis brings together more than 100 of our all-time favourite titles in a neat new format so you can curate your own affordable library of art, anthropology, and aphrodisia.

Bookworm’s delight — never bore, always excite!

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Посмотреть полноформатное издание книги Cosmic Communist Constructions Photographed - Frédéric Chaubin. CCCP

Considered one of the great masters of contemporary Japanese photography, Daido Moriyama is always on the road, a lone traveller whose black-and-white images recount visions and worlds hidden just beneath the surface of reality. 

This book contains 250 photographs taken over the latest five years. A constant flow of images that is often frenetic or suddenly suspended, following the rhythm of an unfettered, restless life spent travelling the roads of the world. 

Daido Moriyama (born 1938) is one of the most important living photographers and photobook makers.

The name of David Bailey is synonymous with photographs of beautiful people. In this latest celebration of his art, he brings together for the first time the best of all these photographs from the 1960s up to the present day.

Through his long and extraordinarily successful career, he has focused on the faces that represents the apex of beauty for a particular time. Like the rainbow, this beauty comes and goes – yet Bailey has spent a lifetime chasing these rainbows and has succeeded in capturing the iconic faces of each era.

Commissioned by the finest fashion magazines of the time, most notably Italian and French Vogue, these portraits include models such as Jean Shrimpton, Marie Helvin, Jerry Hall, Penelope Tree, and Bailey’s wife, Catherine Dyer. But Bailey’s idea of beauty does not end with fashionable women. It encompasses such pillars of contemporary culture as Yves St Laurent, Helmut Newton and Manolo Blahnik, as well as startling ethnographic portraits, and Bailey’s strangely haunting paintings – published here in book form for the first time – reveal at their heart an abstract kind of beauty.

Robin Muir’s text charts Bailey’s meteoric career from his first days at Vogue up to today and reminds us of the ways in which Britain’s greatest living photographer has challenged our notions of female beauty with his own highly personal vision.

No admirer of either beauty or Bailey will want to be without this book.

If David Bailey was the quintessential London photographer during the Swinging Sixties, the photographs he produced in the 1970s reflect a radical reorientation. As can be seen in this superb and comprehensive selection, his subject matter became truly international.

On a major assignment for Vogue in January 1970, Bailey photographed fashion against the dramatic mountain backdrops of Central Turkey. Throughout the decade that followed, he determined to photograph peoples and places across the world that fascinated him. His incisive documents of India, Peru, Japan, Haiti, Brazil and New Guinea, many previously unpublished, culminate in the most political of his reportages – haunting images of the Vietnamese boat people.

Alongside these remarkable photographs, Locations presents the best of Bailey’s 1970s fashion sittings. During this era Bailey also continued as a master of the art of portraiture, his subjects ranging from Salvador Dalí and Mick Jagger to Mother Teresa. His acclaimed television documentaries on Andy Warhol, Cecil Beaton and Luchino Visconti provided yet more opportunities for compelling stills.

"coming from a perspective based on how I see the world with my eyes, heart, ears and brain; I like to think of myself not only as a photographer...but as a psychographer." David Drebin was born in Toronto, Canada and is based in New York City since his graduation from Parson School of Design in 1996.

After success in the commercial world doing ad campaigns internationally for companies from American Express, Davidoff, New York Times to name a few as well as magazines from Vanity Fair, Travel and Leisure, GQ, Elle, Rolling Stone and many others David has gone on to have exhibitions in Los Angeles and Berlin.

LOVE & OTHER STORIES - in spite of David Drebin being a master of staging, the figures entangled in their emotions all seem to feel unobserved and safe. We remain unaware about the causes of the passionate feelings of his female characters, their experiences before being captured in their apparently agitated moods. One has to create a story behind these photos and this way embark on an exciting journey into the imagination. They remind us of film scenes we have never seen.

David Drebin’s photos are very expressive, matching the subjects that are filled with exciting details. The observer can’t escape the mood of each female character highlighted in these photos.

Good News. The possibility of what could be

TASCHEN is proud to announce the long-awaited, latest and final publications from artist David LaChapelle: a two-volume project to complete his career-spanning anthology. Here, Good News picks up from Lost + Found, in a monumental curation of images never before published in book form. It marks a dramatic conclusion to LaChapelle’s five-book narrative, one that has captivated a generation of viewers across the globe.

TASCHEN is proud to announce Lost + Found and Good News, the long-awaited, latest and final publications from artist David LaChapelle. The books are the fourth and fifth instalments of LaChapelle’s five-book anthology, which began with LaChapelle Land (1996), continued with Hotel LaChapelle (1999), and followed by Heaven to Hell (2006).

Good News follows David LaChapelle’s creative renaissance as he surrenders to contemplations of mortality, moving beyond the material world in a quest for paradise. Featuring a monumental curation of images that have never before been published in book form, it is a sublime and arresting new body of work that attempts to photograph that which can’t be photographed. It represents the final chapter to LaChapelle’s narrative in a collection of books that have captivated a generation of viewers across the globe.

Good News features:
Pamela Anderson, Lana Del Rey, Sharon Gault, Janet Jackson, Michael Jackson, Paris Jackson, David LaChapelle, Amanda Lepore, Miriam Makeba, Sergei Polunin, Tupac Shakur, Elizabeth Taylor, and many more...

Lost + Found. An illuminated manuscript for the time we live in

TASCHEN is proud to announce the long-awaited, latest and final publications from artist David LaChapelle: a two-volume project to complete his five-book, career-spanning anthology. In Lost + Found, LaChapelle unveils a visual record of the times we live in. Together with Good News, it represents a sublime concluding chapter to LaChapelle’s captivating narrative.

TASCHEN is proud to announce Lost + Found and Good News, the long-awaited, latest and final publications from artist David LaChapelle. The books are the fourth and fifth installments of LaChapelle’s five-book anthology, which began with LaChapelle Land (1996), continued with Hotel LaChapelle (1999), and followed by Heaven to Hell (2006).

Lost + Found, Part I is a visual recording of the times we live in and the issues we face, expressed through David LaChapelle’s unique and distinctive vision. Featuring a monumental curation of images that have never before been published in book form, it chronicles LaChapelle’s strongest images as a visionary to date while encapsulating our time in history.

This fourth volume also introduces a decade of unseen work from LaChapelle’s creative renaissance, where he offers a bridge into paradise and the sublime, leading viewers into volume two: Good News.

Lost + Found, Part I features:
Pamela Anderson, Julian Assange, Isabella Blow, David Bowie, Naomi Campbell, Hillary Clinton, Frances Bean Cobain, Miley Cyrus, Lana Del Rey, Lady Gaga, Sharon Gault, Daphne Guinness, Whitney Houston, Kris Jenner, Kendall Jenner, Bruce Jenner, Kylie Jenner, Dwayne Johnson, Khloe Kardashian, Kim Kardashian, Eartha Kitt, David LaChapelle, Amanda Lepore, Nicki Minaj, Katy Perry, Sergei Polunin, Keith Richards, Rihanna, Chris Rock, Amber Rose, Britney Spears, Uma Thurman, Andy Warhol, Kanye West, Pharrell Williams, Amy Winehouse, and many others...

Burning Beauty is a comprehensive summary of photographer David LaChapelle, stretching from the early 1980s to 2012.

With more than 200 colour illustrations and four essays, it reflects LaChapelles entire oeuvre.

LaChapelles imagery has the ability not only to attract our gaze with seductive and remarkable bodies, settings and objects in every conceivable and inconceivable constellation; it also has the capacity to incite reactions that charge our seeing with emotions that engender a relationship between the image and its viewer.

His imagery places the viewer in the midst of the turbulent visual culture of the past quarter-century and invites us to a blend of passion, comedy, exaggeration and critical reflection.

Published to accompany the exhibition Burning Beauty at The Swedish Museum of Photography in Stockholm, this book offers a unique insight in one of the most important contemporary artists in the world.

Ten years after the exhibition The Air Is on Fire, which unveiled David Lynch’s photographic and painting work, the Fondation Cartier pour l’art contemporain will publish a book featuring more than a hundred black-and-white and color images of feminine nudes realized by the artist. These erotically-charged photographs are close to abstraction, offering kaleidoscopic visions of the woman. They attest to David Lynch’s fascination with the infinite variety of the human body, while being in line with his cinematographic work.

Decay can possess the drama of a landslide or the intimacy of cracked skin. In Decay, photographers Nathan Troi Anderson and J.K. Putnam share how decay looks to them through their lenses. Shot in color and black & white, with their cameras trained on a wide array of subjects, decay begins to take shape, framed by written insights about how they perceive this natural phenomenon.

In a distinctly MBP twist, Decay also doubles as a pattern book, providing readers with 50 high-resolution, royalty-free patterns of decay that can be used for any number of graphic design applications.