Портрети

Louise Bourgeois, Ann Hamilton, Willem de Kooning, Robert Rauschenberg, Roy Lichtenstein, Robert Mapplethorpe, Keith Haring, Richard Meier, Daniel Libeskind, Zaha Hadid, James Watson, Nicole Kidman, Dennis Hopper, Vanessa Redgrave, Glenn Close, Dennis Quaid, John Malkovich, John Huston, Steven Spielberg, Martin Scorsese, Spike Lee, Salman Rushdie, Gary Indiana, Gore Vidal, David Bowie, Lou Reed, Steve Tyler and B.B. King. A rich gallery of artists, architects, writers, scientists, actors, directors, musicians, singers and business people in these portraits taken by the great American photographer between the seventies and today.

“Timothy Greenfield-Sanders works on the portrait like a painter of another age. Thanks to his 11 x 14 inch Fulmer & Schwing, an old wooden box dated 1905, which he uses as if he were using palette and brush, he produces portraits that are detailed but not psychological. This way he shows that it is possible to create portraits of people without pathos yet revealing their soul all the same.

Greenfield-Sanders is not interested in the fleeting moment; he is interested in the limited time of a sitting. He asks little of his subjects, he lets them take on a natural portrait posture, he offers few suggestions and lets the composition come emerge on its own. Those who pose for him are offered his seat, the same seat each subject sits on and where each subject has left a part of himself or herself. In this he is not a modern portrait artist, like the painter Lucian Freud, who, working with the dramatic quality of his subject adds so much of his own that he transforms it into abstraction.

Some works by Greenfield-Sanders could seem to be hyperrealist, but his eye looks more towards the European tradition. His recent use of the diptych also indicates this. His attention is focused on celebrities, popular icons, as were Rembrandt and Velбzquez in their day, portraying the great figures of their time; perhaps a turning point in his future development would be to take a look at ordinary, anonymous people, as Caravaggio had done.

This attention to popular icons likens Greenfield-Sanders to Warhol, whom he admires. Yet he does not rehash Warhols poetic language: the genial Andy used a Polaroid, a modern means that was devoid of expressive qualities and required no know-how: anyone can take a Polaroid; Greenfield-Sanders, on the other hand, uses a sophisticated wooden camera which gives his images that specific character that distinguishes his unmistakable personality.

In his black and white portraits Greenfield-Sanders comes very close to the imagery of cinema, some close-ups recall Fritz Lang. His strength lies in his will not to invent a photographic form. In colour he searches for his subject, the strength of tones and contrasts, he seeks the perfection of chromatic quality and combinations that can be astonishing. For example the beautiful portrait of Nicole Kidman, where the red material of her dress, the unlit red background and the rosy colour of the face blend together bringing eyes and hands to the fore.

Undoubtedly one of Greenfield-Sanders’s greatest merits is his being able to limit the distance that separates the portrait from the observer. Not everyone can do this (Mimmo Paladino)

Timothy Greenfield-Sanders was born in Miami Beach, Florida in 1952. He studied at Columbia University, New York, where he graduated in History of Art in 1974. He attended the American Film Institute in Los Angeles and, in 1977, he received a specialised diploma in Fine Arts. He lives and works in New York.

One of today's foremost fashion and celebrity photographers, Tom Munro has been making defining images since the mid-1990s.

Munro achieves his results by encouraging his subjects to reinterpret their personalities for his lens, revelling in seductive roleplay or darkly-lit melodrama. The subjects gathered here include some of the biggest names in pop culture today-Ashton Kutcher, Brooke Shields, Charlotte Gainsbourg, Christina Ricci, Courtney Love, Daniel Craig, Dustin Hoffman, Ewan McGregor, Isabella Rossellini, Jake Gyllenhaal, Jennifer Aniston, Johnny Depp, Jude Law, Julianne Moore, Justin Timberlake, Lauren Hutton, Leonardo DiCaprio, Linda Evangelista, Madonna, Marion Cotillard, Matt Dillon, Matthew McConaughey, Naomi Campbell, Patrick Dempsey, Rob Lowe, Scarlett Johansson, Stephanie Seymour and Tom Cruise, to name only a few. This volume-Munro's first monograph-affirms his status as a portraitist of the first rank.

English by birth, Tom Munro moved to New York in 1990, embarking on his own career as a photographer in 1997, and achieving overnight success with his early editorial shoots for British Vogue and Harper's Bazaar. Over the last ten years, Munro has contributed to some of the world's most prestigious magazine publications including Vogue, Italian Vogue, L'Uomo Vogue, Russian Vogue, China Vogue and Details. Munro's dedication to his craft has attracted some of the fashion and beauty industries' most prestigious names, including Armani, Banana Republic, Burberry, Calvin Klein, Converse, Gap, Givenchy, Hugo Boss, Lacoste, L'Oreal, Moschino, as well as music icons such as Beyonce, Justin Timberlake and Madonna.

Most recently Munro directed Madonna's music video "Give it to Me," the success of which led to him directing a second video, "Die Another Day," and shooting the book for her Sticky and Sweet world tour.

Twilight of the Romanovs opens a door onto the world of pre-revolutionary Russia in original photographs taken during the last decades of Romanov rule.

These photographs are snapshots of a vanished world and include many remarkable colour images created using an early three-colour-plate technique which bring the remote past to life with an especially vivid jolt.

The Russian Empire was soon to be destroyed and rendered unrecognizable. Yet these images reveal a surprising continuity: despite the subsequent cataclysm, faces, postures, buildings and landscapes still resonate with those who see them a century and more later.

The Russian Empire was torn between a rural population living almost medieval lives and the industrial and social change in the cities. The Tsar’s gigantic realm struggled with modernity and with its own internal contradictions between Asia and Europe; faith and science; ethnic divisions; and the divergent interests of the aristocracy, the middle classes, the urban workers and the rural poor. This continent of contradictions was captured by authors from Tolstoy to Chekhov, from Gogol to Gorky and Bely.

Vanity Fair 100 Years showcases a century of personality and power, art and commerce, crisis and culture — both highbrow and low.

From its inception in 1913, through the Jazz Age and the Depression, to its reincarnation in the boom-boom Reagan years, to the image-saturated Information Age, Vanity Fair has presented the modern era as it has unfolded, using wit, imagination, peerless literary narrative, and bold, groundbreaking imagery from the greatest photographers, artists, and illustrators of the day.

This sumptuous book takes a decade-by-decade look at the world as seen by the magazine, stopping to describe the incomparable editor Frank Crowninshield and the birth of the Jazz Age Vanity Fair, the magazine’s controversial rebirth in 1983, and the history of the glamorous Vanity Fair Oscar Party.

With its exhaustive sweep, visual impact, and time-capsule format, Vanity Fair 100 Years is the book everyone will want in 2013.

__________

Пролистать книгу Vanity Fair 100 Years: From the Jazz Age to Our Age на Google Books.

Vanity Fair; Oscar Night Sessions presents10 years of luminous photographic portraits of Hollywood celebrities who attended the most exclusive and glamorous after-party of the year in a gorgeous volume.

For the past decade, photographer Mark Seliger has set up an elaborate pop-up studio inside the annual Vanity Fair after-party on Oscar night, producing exquisite portraits of Hollywood’s A-list personalities in the immediate afterglow of cinema’s biggest event of the year. This book gathers the best of these portraits, along with a foreword by Vanity Fair editor-in-chief Radhika Jones and an afterword by actor Alan Cumming, who sheds light on what it’s like to be in front of Seliger’s lens on the night of nights.

With some 200 color portraits, featuring Oscar-winning actors, directors, and musicians, Hollywood power couples, and luminaries of all stripes, including Lady Gaga, Robert De Niro, Spike Lee, Regina King, Jessica Chastain, Taika Waititi, Timothée Chalamet, Donald Glover, and many more, this over-the-top volume will delight anyone interested in exquisite photography and Hollywood glamour.

About the Author:

Mark Seliger is a longtime Vanity Fair contributing photographer. He is the author of several books of photography, including In My Stairwell, Listen, and On Christopher Street: Transgender Stories.

In commemoration of the fiftieth anniversary of the death of Yukio Mishima, one of the leading figures in modern literature, The Death of a Man presents a sublime -- and often shocking -- visual record of the last few months prior to his sensational ritual suicide in November 1970.

The author of masterworks such as The Temple of the Golden Pavilion and Forbidden Colors, Mishima, a celebrated figure in postwar world literature, remains a controversial figure in Japan. His reactionary politics and the spectacular nature of his death had so profoundly impacted Japanese society that images associated with the event were never publicly shown.

In the months prior to the November incident, he enlisted Kishin Shinoyama to create a photographic, radical work of fiction, a photo essay on the death of the Japanese "everyman." In images often suffused with militarism and eroticism, a parade of men, including a sailor, a construction worker, a fisherman, and a soldier, are shown meeting grisly, dramatic ends.

Published for the very first time, these stylized images of men dying alone serve as prologues to the real-world culmination of Mishima's pursuit of total art. Locked in a performance with one inescapable end, Mishima offered his own body as its final act.

With texts by Mishima and his closest intimates and first-person reminiscences of his final moments, this book promises to be an unprecedented interrogation on the nature of performance and the role of artist as actor, provocateur, and revolutionary.

About the Author:

Kishin Shinoyama is one of the titans of Japanese postwar photography. In 2018 Louis Vuitton reprinted his landmark 1981 work on the Silk Road.

People understand the artwork of Oleg Dou in different ways. The decadent beauty of his seemingly bloodless creatures and their psychopathic gaze are strangely evocative of the cliched images of fashion photography. But the dedication and diligence with which he creates his images of young people, woven of snow and ice, entice us to seek a living face underneath the thick layer of makeup. Oleg Dou has chosen a very difficult path, dismembering beauty with the surgical scalpel of a pathologist, dissecting a rictus grin until it becomes a paroxysm of suffering

Олег Доу (р. 1983) - один из самых ярких представителей современной русской фотографии на мировой арене. В 2007 году он стал лауреатом международной премии International Photography Awards. В 2009 году получил премию Arte Laguna Art Prize в номинации "Лучший молодой фотограф". Сегодня работы ОД представляют ведущие галереи Франции, Бельгии, Испании, Нидерландов, Америки и России. В 2011 году сайт Artprice опубликовал рейтинг самых успешных фотографов до 30 лет, и ОД занял в нем 3 место. В апреле 2012 года работа фотографа украсила обложку программы Photoshop версии CS6. В художественной практике ОД отражены его взаимоотношения с фотографией как явлением жизни. Переживая свои детские воспоминания о страхе перед постановочной съемкой, уже во взрослом возрасте он использует этот опыт в искусстве как терапию. В то же время сам становится тем, кого всегда боялся. Стиль художника - крупноформатные портреты детей и взрослых с пластифицированными, почти кукольными лицами,...

Following the runaway success of his first book, pioneering street fashion photographer Yvan Rodic (better known to his fans as Face Hunter) is back with a travel diary that chronicles a year-long face-hunting expedition to more than 30 of his favourite fashion cities.

Follow him to the worlds most stylish cities, which range from the established fashion capitals of New York, Milan and Paris to exciting new style centres in Africa, Asia and South America and even unexpected gems such as Baku. A young child in Tokyo wears fantastic striped sunglasses; trainers are paired with cowrie shells in CapeTown; a woman poses in a fake leopard-skin coat outside Milan Cathedral; blue suede shoes pound the streets of Beirut Forget the catwalk.

You never know what will catch Face Hunters eye.

89 colour and duotone plates

A tribute to Audrey Hepburn, an endearing star of ethereal beauty. Now in its sixth edition, the book assembles the best film stills, portraits, and private photographs of arguably the most charming movie actress of all times.

This book contains over 300 rap rhythms, witticisms, insults, wisecracks, politically incorrect quips, courageous stands and words of inspiration from the mind, heart and soul of the brash young Cassius Clay, as he steadily grew into the magnificent man who is Muhammad Ali. From a narcissistic self-promoter who eventually became a man of enduring spirituality through a journey of formidable tests, Ali has emerged as a true superhero in the annals of American history, and the Worldwide Ambassador of Courage and Conviction. This fresh, first-person book serves as a hilarious and moving hands-on autobiography by Muhammad Ali, the intrepid man of action who spoke in soundbites, all wittily and powerfully visualized by the provocateur graphic designer, George Lois.

Alison Jackson has photographed the Queen of England on the toilet, George Bush and Tony Blair chatting in the sauna, Mick Jagger doing gymnastics, and Monica Lewinsky lighting Bill Clinton's cigar. Or has she? The likenesses are uncanny, but of course, her subjects are look-alikes. Her photos demonstrate that while seeing is believing, the truth is another story entirely. In her work, Jackson says, "Likeness becomes real and fantasy touches on the believable. The viewer is suspended in disbelief. I try to highlight the psychological relationship between what we see and what we imagine. This is bound up in our need to look—our voyeurism—and our need to believe." Indeed, by showing "celebrities" ostensibly caught unawares, Jackson's pictures show us what we imagine might go on behind closed doors. Jackson's work causes controversy, because it threatens to cross the line between the private and public life of our contemporary icons. Because we unquestioningly accept the authenticity of the photograph, it would appear that we are being given a glimpse of something confidential, a private moment. It is only upon closer examination that we question the reality of the image, and hopefully this makes us question our unwitting tendency to believe everything we see in the media today.

This book will introduce you to another, different world of auctions. For instance: the domain "business.com" has been auctioned for $7.5 million and is therefore the most expensive web address ever. But not only are the superlatives like the highest price or having the most bidders the auction highlights. The real gems are, inconspicuously at first, among the totally normal auctions. Bizarre, funny, astonishing, unexpected, shocking - just: amazing!

Polaroids haben etwas ähnlich Magisches wie alte, verblichene Familienphotos oder Bilder, die nur vage in unserer Erinnerung existieren. Wie aus dem Nichts auftauchend, halten sie doch für den Bruchteil eines Blicks die Zeit an und trotzen einer Vergänglichkeit, der sie selbst früher oder später erliegen werden. Andrej Tarkovskij (1932-1986), einer der charismatischsten Filmemacher des ausgehenden 20. Jahrhunderts, liebte dieses magische Spielzeug, das er sich in den späten 70er Jahren zugelegt hatte, und nutzte es weniger zur Vorbereitung seiner Filme als privat, um seine häusliche Umgebung, Stimmungen, Situationen zu fixieren und dem eigenen Gedächtnis einzuspeichern. Nach Stalker, seinem verstörenden Hauptwerk, das 1979 unter enormen Schwierigkeiten fertig geworden war, beschloß er, die Sowjetunion zu verlassen und zunächst nach Italien ins Exil zu gehen. Mit der Polaroidkamera nahm er, so scheint es, Abschied von seiner vertrauten russischen Welt - und eignete sich, wieder in sehr persönlichen, poetisch-flüchtigen Bildern, die neue Umgebung an, Wohnorte und Landschaften vor allem in der Toskana, wo 1983 sein vorletzter Film entstehen sollte: Nostalghia. Wir freuen uns, dieses visuelle und literarische Kleinod jetzt wieder im Programm zu haben.

Andres Serrano is one of America's most mythologized contemporary artists. To many, he's the man responsible for Piss Christ and a national scandal over government funding of controversial art. For those who look beyond the headlines, he's a highly accomplished and ever-evolving photographic artist showing us the ordinary in extraordinary ways. With his post-Piss Christ series, Nomads, he made studio portraits of New York's ethnic homeless and juxtaposed them with members of the Ku Klux Klan. In the Morgue series he dissected violent death and found the human thread on the coroner's slab, while A History of Sex explored the human mating urge in its infinite variety.

Andres Serrano considers America his greatest achievement. Three years of work produced over one hundred 50-by-60-inch photographic portraits representing the cultural diversity of this immigrant country, as filtered through the critical lens of Serrano. There are celebrities: Arthur Miller, Snoop Dogg, Anna Nicole Smith, B.B. King, Vanessa del Rio; and ordinary citizens: a pimp, a boy scout, a doctor, a Russian Orthodox Bishop. America is intimate, honest, and demanding of response, like all Serrano's work. The second half of this big volume, Other Work, is a retrospective of Serrano's previous photographic series. Together these two impressive halves create the whole of Andres Serrano's artistic oeuvre.

In 1989 US Senator Jesse Helms accused Andres Serrano of taunting the American people. America and Other Work is the perfect rebuttal.

Cecil Beaton called him the best photographer in Britain; Lord Snowdon declared him a genius. It is no exaggeration to say that Angus McBean revolutionized portraiture in the 1930s, or that he immortalized the likes of Audrey Hepburn, Marlene Dietrich, and Elizabeth Taylor. Blending wit, drama, and fantasy with the consummate skill of a master photographer, McBean was the most prominent theater photographer of his generation and, along with Beaton, the last of the British avant-garde studio photographers.

For the first time since his death in 1990, McBean's photographs of stars such as Vivien Leigh, Peggy Ashcroft, Laurence Olivier, John Gielgud, and Audrey Hepburn and his rarely seen color prints from the 1960s of the Beatles, Maria Callas, and Shirley Bassey are brought together in this fascinating book. Terence Pepper's intriguing account of McBean's life and work includes extracts from the photographer's unpublished autobiography.