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The sensation continues in color: Discovered a few years ago, Vivian Maier’s masterful black & white photographs caused international excitement. 

This hitherto unpublished collection of her color photographs gives proof of her extraordinary sense of color and composition. 

With essays by Joel Meyerowitz, pioneer of American color photography, and critic Colin Westerbeck.

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Пролистать книгу Vivian Maier: The Color Work на Google Books.

The lifetime work of recently discovered street photographer Vivian Maier has captivated the world and spawned comparisons to photography's masters including Diane Arbus, Helen Levitt, Lisette Model, Walker Evans and Weegee. Now, for the first time, Vivian Maier: Self-Portraits will present the fullest and most intimate portrait of the artist herself with approximately 60 never-before-seen black-and-white and colour self-portraits culled from the extensive Maloof archive, the preeminent collector of the work of Vivian Maier.

About the Authors:

There is still very little known about the life of Vivian Maier. What is known is that she was born in New York in 1926 and worked as a nanny for a family on Chicago's North Shore during the 50s and 60s. Seemingly without a family of her own, the children she cared for eventually acted as caregivers for Maier herself in the autumn of her life. She took hundreds of thousands of photographs in her lifetime, but never shared them with anyone. Maier lost possession of her art when her storage locker was sold off for non-payment. She passed away in 2009 at the age of 83.

John Maloof is a filmaker and street photographer. He discovered the first negatives of Vivian Maier's work in 2007 while compiling a book about the history of the neighborhood where he grew up. He edited the first published collection of Maier's work, Vivian Maier: Street Photographer (powerHouse Books, 2011).

Elizabeth Avedon is an independent curator and writer. The former Director of Photo-Eye Gallery, Santa Fe and Creative Director for The Gere Foundation, she has received awards and recognition for her exhibition design and publishing projects, including the retrospective exhibition and book: Avedon: 1949&;1979 at the Metropolitan Museum of Art, Dallas Museum of Fine Arts; and Richard Avedon: In the American West for the Amon Carter Museum, the Corcoran Gallery of Art, and The Art Institute of Chicago, among many others. Elizabeth is a regular contributor to Le Journal de la Photographie profiling notable leaders in the world of Photography.

There is still very little known about the life of Vivian Maier. What is known is that she was born in New York in 1926 and worked as a nanny for a family on Chicago's North Shore during the 50s and 60s. Seemingly without a family of her own, the children she cared for eventually acted as caregivers for Maier herself in the autumn of her life. She took hundreds of thousands of photographs in her lifetime, but never shared them with anyone. Maier lost possession of her art when her storage locker was sold off for non-payment. She passed away in 2009 at the age of 83.

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Пролистать книгу Vivian Maier: Self-Portraits на Google Books.

A good street photographer must be possessed many talents: an eye for detail, light, and composition; impeccable timing; a populist or humanitarian outlook; and a tireless ability to constantly shoot, shoot, shoot, shoot and never miss a moment. It is hard enough to find these qualities in trained photographers with the benefit of schooling and mentors and a community of fellow artists and aficionados supporting and rewarding their efforts. It is incredibly rare to find it in someone with no formal training and no network of peers.

Yet Vivian Maier is all of these things, a professional nanny, who, from the 1950s until the 1990s, took over 100,000 photographs worldwide — from France to New York City to Chicago and dozens of other countries — and yet showed the results to no one. The photos are amazing both for the breadth of the work and for the high quality of the humorous, moving, beautiful, and raw images of all facets of city life in America’s post-war golden age.

It wasn’t until local historian John Maloof purchased a box of Maier’s negatives from a Chicago auction house and began collecting and championing her marvellous work just a few years ago that any of it saw the light of day. Presented here for the first time in print, Vivian Maier: Street Photographer collects the best of her incredible, unseen body of work.

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Пролистать книгу Vivian Maier: Street Photographer на Google Books.

An amateur street photographer, Vivian Maier worked for forty years as a nanny in Chicago. 

During these years she took over 100,000 pictures, primarily of people and cityscapes, but never shared them with anyone. They were accidently rediscovered by Chicago historian, John Maloof, in 2007. 

He now presents the first comprehensive publication of this unknown photographic talent’s sensational treasure. 

Images © The Helmut Newton Estate / Maconochie Photography

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Пролистать книгу Vivian Maier: Street Photographer на Google Books.

In 2010 Vivienne Westwood and Lee Jeans launched an online manifesto-installation titled 100 Days of Active Resistance.

The website invited people to submit an artwork, slogan or photograph responding to Westwood's conception of "Active Resistance to Propaganda," in which she argues for culture's capacity to elevate humanity above self-destruction. "It is not enough to follow world politics, see films and read the prizewinning bestsellers," she insists; "this is superficial, you need to go deep in order to understand who you are, what the world is and how things could be better. This involves culture which can only be acquired by self-education: human beings should mirror the world."

Starting on September 8, 2010, for 100 days, one artwork was showcased online daily, ending with an exhibition displaying a selection of the best contributions. This volume gathers these works and commemorates the project.

Vladimir Malakhov - this widely acclaimed winner of numerous prizes and "dancer of the century" delights his public through the rare combination of technical brilliance and lyrical eloquence. His supple, androgynous body combines "power and purity, flash and elegance, melodrama and eye-bobbling academic precision" (New York Times) - when he leaps, gravity seems suspended. Yet he remains driven to achieve great purity in his dance. Dieter Blum has succeeded in capturing the movement of this extraordinary artist in photographs that reflect his purity and simultaneously provide a deep insight into the personality of the ensemble.

Niemand hat den Tanz bisher derart fleischeslustig und dabei kunstvoll, so theatralisch wie abstrakt und immer wieder variantenreich einzufangen gewusst wie der deutsche Fotograf Dieter Blum. Seine Fotografie bannt Spannung und Bewegung in einzigartigen, sehr persönlichen Momentaufnahmen.
In seinem Werk Vladimir Malakhov treffen zwei Ikonen aufeinander: Vor langer Zeit schon heftete sich der Fotoästhet Blum an die Fersen des begnadeten Tänzers. Mit seinen feinsinnigen Aufnahmen widerlegt er souverän die Behauptung, die Bewegung des Tanzes könne nicht auf Fotografien festgehalten werden. Im Gegenteil: Gerade durch den Tanz kann Dieter Blum seine Arbeit mit Körpern, Kamera und Licht zur Perfektion treiben.
Und Malakhov! Wer wäre geeigneter als Modell? Bühnengeschult und geübt im Blicke-auf-sich-ziehen schwebt der „Beste Tänzer der Welt” (New York Times) mit seinem Ensemble durch den Raum. Oft unbekleidet, mal linear geordnet, mal verknäuelt in seiner muskulösen Dynamik, spannungsvoll selbst in der Ruheposition: intim, erotisch, dabei doch streng und distanziert.
Die großformatigen, vielfach erstveröffentlichten Fotografien machen Vladimir Malakhov zu einem verlegerischen Meisterwerk – dem wohl aufwändigsten und spektakulärsten Bildband, der bisher zum Thema Tanz geschaffen wurde.

Vladimir Malakhov, 1968 in Kriwoj Rog im Osten der Ukraine geboren, begann seine Ballettausbildung im Alter von vier Jahren. Mit zehn Jahren wechselte er an die berühmte Choreographische Akademie des Bolschoi-Theaters in Moskau und wurde 1986 als jüngster Solist an das renommierte Klassische Ballett Moskau verpflichtet. 1992 erhielt er ein attraktives Engagement beim Ballett der Wiener Staatsoper. In den folgenden Jahren wechselte er unter anderem zum National Ballet of Canada (1994), zum Stuttgarter Ballett sowie zum American Ballet Theater an der Metropolitan Opera in New York. Seit 2004 ist Vladimir Malakhov künstlerischer Leiter und Ballett-Intendant am Staatsballett Berlin.

In more than 2,000 issues, British Vogue magazine has acted as a cultural barometer, putting fashion in the context of the larger world in which we live – how we dress, how we entertain, what we eat, listen to, watch, who leads us, excites us and inspires us.

The century’s most talented photographers, illustrators and artists have contributed to it. In Lee Miller it had, unexpectedly, its own war photographer; in Norman Parkinson, Cecil Beaton, David Bailey, Snowdon and Mario Testino the greatest portrait and fashion photographers of their generation; and in Beaton and Irving Penn two giants of twentieth-century photography.

From 1892, American Vogue chronicled the life of beautiful people – their clothes, parties, houses and habits – and the magazine was exported for intrigued British readers. In 1916, when the First World War made transatlantic shipments impossible, its proprietor, Condé Nast, authorised a British edition. It was an immediate success, and over the following ten decades of uninterrupted publication continued to mirror its times – the austerity and optimism that followed two world wars, the ‘Swinging London’ scene of the sixties, the radical seventies, the image-conscious eighties – and in its second century remains at the cutting edge of photography and design.

Decade by decade, Vogue 100: A Century of Style celebrates the greatest moments in fashion, beauty and portrait photography. Illustrated throughout with well - known images, as well as the less familiar and recently rediscovered, the book focuses on the faces that shaped the cultural landscape: from Matisse to Bacon, Freud and Hirst, from Dietrich to Paltrow, from Fred Astaire to David Beckham, from Lady Diana Cooper to Lady Diana Spencer.
It features the fashion designers who defined the century – Dior, Galliano, Balenciaga, Saint Laurent, McQueen – and explores more broadly the changing form of the twentieth-century woman.

A spectacular book of nearly 400 photographs of the weddings and wedding dresses of royalty, social figures, models, artists, actors, musicians and designers which have appeared in Vogue through the magazine’s 120 year history.

Here are ethereal brides photographed by Cecil Beaton, George Hoyningen-Huene, Baron de Meyer, Patrick Lichfield, Edward Steichen, Robert Doisneau, Tim Walker, François Halard, Patrick Demarchelier, Jonathan Becker, Norma Jean Roy, Mario Testino, Mert Alas and Marcus Piggott, Irving Penn, Arthur Elgort, Steven Meisel, Richard Avedon, Helmut Newton, Annie Leibovitz, Bruce Weber and Craig McDean among others. These photographers have captured brides across America and abroad, posed for formal portraits, or captured in the excitement of moment of their wedding day.

These images transport you to a myriad of romantic settings around the world, from grand social and royal weddings in storied castles, palaces, and cathedrals, to weddings by the sea or in the countryside. In the Introduction, Hamish Bowles brings his historian’s eye to reveal fascinating behind-the-scenes details as he looks at the glamour of weddings past and present; while Mario Testino, Plum Sykes, Marina Rust and Sarah Mower tell us personal stories about their own weddings or memorable ones they attended.

Here are the Duke and Duchess of Cambridge in London; Charlene Wittstock and Prince Albert in Monaco; Carolina Herrera Jr., and Miguel Báez Spinola in Spain; Jemma Kidd and Arthur Wellesley, the Earl of Mornington, in Barbados; Sofia Coppola and Thomas Mars in Italy; Kate Moss and Jamie Hince in the Cotswolds; Lauren Bush and David Lauren at the RRL Ranch in Colorado; Marina Rust and Ian Connor in Maine; Lauren Davis and Andrés Santo Domingo in Cartagena, Colombia as well as such iconic photos as Bianca and Mick Jagger in the car after their wedding in St. Tropez. A chapter on models’ weddings includes portraits of Natalia Vodianova, Coco Rocha, Maggie Rizer, Stella Tennant, Lara Stone and Cindy Crawford among others in their own wedding dress choices. Most imaginative are the fashion portfolios created by the magazine’s editors of bridal photo shoots, many including couture, in The Vogue Wedding chapter. Meanwhile The Wedding Guide offers ten designers celebrated for their stylish and romantic designs, from Vera Wang to J. Crew.

Vogue Weddings: Brides, Dresses, Designers is a book that is not only informative, and rich with historical detail, but presents a dramatic collection of iconic, inspirational images.

Since its first cover on December 17, 1892, Vogue has had people talking.

Vogue: The Covers chronicles the extraordinary images that have reflected—and transformed—the world of style for more than 120 years.

More than 300 of the most beautiful, provocative, and fashion-forward covers ever produced are highlighted alongside the history and stories behind the covers themselves.

Organized in chronological order by decade, Vogue: The Covers begins with the illustrated covers from the magazine’s inception in 1892 and spans the 20th century to the present day, charting the evolution of fashion, art, culture, and photography for the past 120 years.

Featuring the work of influential artists—Helmut Newton, Irving Penn, Richard Avedon, Bruce Weber, Herb Ritts, Steven Meisel, Annie Leibovitz, and Mario Testino—the book is a stunning celebration of the magazine and its unparalleled influence.

Volcanic Girls is the title of this book by the renowned German photo­grapher Stefan Soell. It is a collection of some of the finest modern nude photography. Stefan Soell‘s works are characterised by their striking quality, and ability to offer­ a glimpse into the personalities of his models. He captures their beauty at some awe-inspiring natural locations, where he combines art with the glory of nature. The location selected for this unique ­collection is Lanzarote, a small but beauti­ful island off the coast of north-east Africa.

Stefan Söll began to take photos at the age of 15, and soon landscape and portrait photography had become his favourite subject. In addition to his astonishing talent at choosing the ideal background and selecting key details, he also has the rare knack of capturing ideal lighting conditions.

„Volcanic Girls”, das neue Buch des renommierten Fotografen Stefan­ Söll, präsentiert moderne Aktfotografie vom Feinsten. Stefan­ Sölls Arbeiten zeichnen sich durch ihre bemerkenswerte Qualität aus und gewähren dem Betrachter einen intimen Blick auf die Persönlichkeiten seiner Modelle. Er fängt ihre Schönheit an atem­beraubenden Orten ein, wo er Kunst mit der Herrlichkeit der Natur vereint. Die Bilder für diese einmalige Zusammenstellung entstanden auf Lanzarote, der wunderschönen kleinen Insel vor der nordostafrikanischen Küste

Stefan Söll begann bereits mit 15 Jahren zu fotografieren, und bald wurden Landschafts- und Portraitaufnahmen zu seiner Lieblings­beschäftigung. Neben seiner erstaunlichen Gabe den idealen Hintergrund und Ausstattung zu wählen, gelingt ihm der ideale Einsatz der Lichtverhältnisse fulminant.

W magazine is renowned for its avant-garde fashion stories, those elaborate confections of magic and mystery that have inspired and captivated readers for more than two decades. This volume gathers 10 of the most remarkable stories, each in its entirety, along with never-before-seen outtakes. Each story was the centerpiece of the issue it appeared in, and together they ride the razor’s edge between outrageously provocative and enchanting, from the bizarre (Steven Klein’s “One for the Ages”) to the alien (Tim Walker’s “Planet Tilda”) and whimsical (Paolo Roversi’s “Carnevale”). These and other stories by Klein, Walker, and Roversi, as well as Steven Meisel, Mert Alas and Marcus Piggott, and Alex Prager, are featured. A special code inside the book provides access to short films shot on the sets of the featured stories by Meisel, Walker, Klein, and Prager.

About the Author:

Stefano Tonchi has been the editor-in-chief of W since 2010. He was the editor of Abrams’ W: The First 40 Years, along with Christopher Bagley and Joseph Logan. Previously, he was the founder and editor of the New York Times T Magazine.

‘The real thing that I’m talking about has purity and a certain severity, rigour, simplicity, directness, clarity, and it is without artistic pretension in a self-conscious sense of the word.’

It was Walker Evans himself who provided this perfect definition of his own work. He photographed Depression-era America with a constant striving for objectivity, a kind of documentary neutrality. Nevertheless, the sculptural subtlety of his images and the close attention he pays to both people and things marked an entire generation of artists.

PHOTOFILE brings together the best work of the world’s greatest photographers, in an attractive format and at an easily affordable price. Handsome and collectable, the books are produced to the highest standards. Each volume contains some sixty full-page reproductions printed in superb duotone, together with a critical introduction and a full bibliography. The series has been awarded the first annual prize for distinguished photographic books by the International Center of Photography, New York.

1169 illustrations, 31 in colour,1121 in duotone

This unprecedented volume bring together for the first time Evans's photographs from the archive that contains more of his images than any other in the world.

Shown here in remarkable duotone reproductions are icons of twentieth-century photography, such as Evans's pictures of tenant farmers and their families taken in the 1930s, but also many less well known, such as those he took in the 1940s of the Ringling Brothers circus and many previously unpublished images.

Walker Evans ranks with Stieglitz, Steichen and Strand as a photographer of the highest calibre.

His images captured forever the harshness of the Depression, the beauty of nineteenth-century brownstone architecture, the evocative presence of everyday trash, the very essence of American life.

His three years of work in the depression-hit South produced his most famous series, the book Let Us Now Praise Famous Men, with text by James Agee. At the same time, Evans assembled his influential exhibition 'American Photographs' at the Museum of Modern Art, New York, recreated here in its entirety. Towards the end of his life he even experimented with colour photographs which are reproduced here for the first time in any book.

Walker Evans: The Hungry Eye has been assembled by John T. Hill, longtime friend of Evans and executor of his estate, and the distinguished French writer on photography Gilles Mora. All phases of Evans' creative career are presented, each section preceded by an explanatory essay, establishing a definitive canon of Evans' finest work. The pictures themselves are reproduced to the highest standards from the original negatives.

This is the broadest, most comprehensive summary of Walker Evans' achievement ever published. It offers an unequalled tribute to a distinguished and innovative photographer who endowed his own America with universal significance.