Сборники работ

53 colour plates

50 models in 2005 haute couture creations staged and photographed by Bettina Rheims. Her pictures don’t simply transform glamorous nymphettes into fashion photos. They subtly subvert the commercial, voyeuristic gaze, opening up fascinatingly unsettling views into the world of fashion and those who wear it.

French writer and photographer Hervé Guibert (b. 1955) died in 1991. Twenty years after his premature death the public interest in one of the most talented and versatile French artist is reawakening. A major retrospective exhibition in Paris presents the highlights of a photographic work that has lost none of its power, beauty, and impact.

The spectacular series by Japanese photographer Hiroshi Sugimoto (*1948 in Tokyo) are characterized by matchless clarity and presence. His works are always an absolute embodiment of his chosen visual motif, reduced to its essence.

This exquisite monograph is the first to feature works selected from all of the series produced to date - including, of course, his most famous: Sugimoto's celebrated portraits of wax figures seem to face up to their living audiences; his Seascapes show us nothing less than a person's first conscious view of the ocean; the extremely long exposures of Theaters elevate the white, luminescent cinema screen, transforming it into a magical image of an altar; and the fascinating Dioramas - photographs of scientific display cases - allow us to travel with the artist far into the past to observe extinct animal species or the daily life of early man. Additions to the original edition are two new groups of works,

Celebrity culture in the 1970s and 1980s, through the lens of an award-winning photojournalist.
As a young photographer working in Los Angeles in the 1970s and 1980s, George Rose had his shutter finger on the pulse of the Hollywood scene, documenting film premieres and award ceremonies, arena concerts and Sunset Strip nightclubs. From Oscar-winning actors and filmmakers to punk rockers and porn stars, this stylish book presents visual highlights from the New Hollywood renaissance, a golden era in movies, music, and scene-making. Reflecting the excess, drama, or humor in each subject, Rose's rich black-and-white photos capture famous faces and personalities of the day, whether Jack Nicholson or Debbie Harry, Truman Capote or Little Richard.

"Blessed with an uncanny instinct for being in the right place at the right time, Rose was always where the action was, as if you'd transplanted Weegee from the 1940s-era Bowery to the 1980s-era Sunset Strip. As this gallery of photos attests, whether Rose was in a tiny room at the Chateau Marmont or at the edge of the stage at a sold-out show at the Forum, he could always capture a revealing or unguarded moment." -- Patrick Goldstein, from the foreword

This book contains 168 photographs of thoroughbred racing taken by award-winning photographer Arthur Frank in the United States, France, and Ireland, and is introduced by a personal essay by The New York Times sportswriter Joe Drape. The photographs capture the beauty and excitement of one of the world's most popular sports by depicting the development of thoroughbred race horses from their days as foals, through training sessions, and then to the track. It also highlights the unique relationships between the horses and those individuals who bred them, own them, train them, care for them, and bet on them. As the photographer is more interested in the sport of horse racing than with celebrity, the book offers a unique humanistic depiction of the sport of kings and concludes with a tribute to the winners and losers.

David LaChapelle has been called the Fellini of photography and is one of the hottest young photographers working today.

Originally trained as a fine artist, LaChapelle turned to photography when he worked for Interview magazine as a teenager.

His career has grown steadily ever since but it exploded in the 90s with the development of his signature style and as the leader of the New Surrealist pop-photography movement. LaChapelle has won numerous awards - Best New Photographer by American Photo & French Photo; Photographer of the Year from VH-1; an Eisie Award from Life in two different categories; Best Applied Photographer of the Year Award from the Int. Center of Photography.

When photographer Howard Huang began shopping his fashion book around New York in 2002 he had no idea he was about to become the master of urban photography. Back then, Huang, originating from Taiwan, thought "urban girls" were just women who lived in the city, explaining, "English is my second language; I was still learning." Nonetheless, when the editor of Black Men magazine asked if he knew how to shoot sexy women he said, "Sure!" and set about staging the magazine’s voluptuous singers, models, and actresses in fantasies inspired by his love of comic books and anime.

His composite photos feature exotic locales, lush interiors, or the neon-washed nighttime streets of Manhattan. His shapely heroines, including singer Jacki-O, actress Vida Guerra, and reality TV stars Hoopz, Deelishis, and Risky Jones, escape on sleek motorcycles; rob banks with guns drawn and Halliburton cases spilling money; brandish swords like Japanese assassins; conjure fire; hunt big game, and generally kick ass while displaying their own generous posteriors in photos reminiscent of video games. "The trick is to rework an image to enhance my vision, without drawing attention to cheesy Photoshop special effects," says Huang, who studied under advertising photography master Michel Tcherevkoff. The result is a unique marriage of the new pictorialism with classic glamour photography, and a look at the little known niche market of African-American and Latina bikini models, collectively known as "urban girls."

The Police on tour photographed by guitarist Andy Summers

In the early 1980s, The Police went on tour accompanied by a photographer who documented the band behind the scenes in a series of candid and striking black and white photos. This talented photographer also happened to be the band's guitarist, Andy Summers. Yes, it’s true - the man responsible for the guitar lick from "Every Breath You Take" was not only the backbone of one of the most popular bands of all time, he also possessed a visual gift for composition and mood that allowed him to capture the spirit of The Police better than anyone else could have.

This book, somewhere between photojournalism and an illustrated diary, follows The Police around the globe between 1980 and 1983. From the American West to Australia to Japan, Summers recorded not only the band members rehearsing and partying - the proverbial sex, drugs, and rock and roll - he also photographed fans, landscapes, still lifes, and passersby in a reportage style reminiscent of Henri Cartier-Bresson and Robert Frank.

Containing over 600 photos and filled with diary-style entries, I’ll Be Watching You is a sumptuous volume beating with musical energy, nostalgia, and atmospheric beauty. A must for photo buffs and Police fans alike.

• Contains over 600 photographs personally selected from the photographer's archive of over 25,000 thousand negatives (1980-83)

• Most photos are previously unpublished, and many of them have never even been printed prior to this project

The Police on tour photographed by guitarist Andy Summers

In the early 1980s, The Police went on tour accompanied by a photographer who documented the band behind the scenes in a series of candid and striking black and white photos. This talented photographer also happened to be the band’s guitarist, Andy Summers. Yes, it’s true - the man responsible for the guitar lick from "Every Breath You Take" was not only the backbone of one of the most popular bands of all time, he also possessed a visual gift for composition and mood that allowed him to capture the spirit of The Police better than anyone else could have.

This book, somewhere between photojournalism and an illustrated diary, follows The Police around the globe between 1980 and 1983. From the American West to Australia to Japan, Summers recorded not only the band members rehearsing and partying—the proverbial sex, drugs, and rock and roll - he also photographed fans, landscapes, still lifes, and passersby in a reportage style reminiscent of Henri Cartier-Bresson and Robert Frank. Containing over 600 photos and filled with diary-style entries, I’ll Be Watching You is a sumptuous volume beating with musical energy, nostalgia, and atmospheric beauty. A must for photo buffs and Police fans alike.

Collector’s edition features:

* Limited to 1500 copies, each numbered and signed by the artist
* Packaged in a slipcase
* Contains over 600 photographs personally selected from the photographer's archive of over 25,000 negatives (1980-83)
* Most photos are previously unpublished, and many of them have never even been printed prior to this project

Highlights include:

* Rehearsals and recording sessions with band-mates
* Sting and Stewart Copeland
* Exclusive back-stage and on-stage footage from concerts including Plaza de Toros (Barcelona, 1980), Budokan (Tokyo, 1981), Wembley Stadium (London, 1981), and Shea Stadium (New York, 1983)
* Inside the tour busses, limousines, helicopters, private planes, parties, and hotel rooms
* Behind the scenes on music video shoots, at press conferences, and in-store appearances
* Life on the road with other bands including The Go-Go’s, XTC, and The B-52's
* Rain-soaked train windows, trashed hotel rooms, island retreats, over-capacity stadiums, and thousands of screaming, singing, sobbing, fans

Countries covered in the book:
America, Argentina, Australia, Brazil, Canada, Chile, Denmark, Egypt, France, Germany, Greece, Japan, Mexico, Netherlands, New Zealand, Portugal, Spain, Sweden, United Kingdom

Drawn from the archives of Italo Zannier, the "grand old man" of Italian photography, a teacher, collector and photographer himself, the over 260 images in this volume document the history of the "marvelous invention" from its beginnings to the tendencies of the present day, from the daguerreotypes of the late 19th century to the Italian neorealism of the thirties and forties, from the years of "la dolce vita" in Rome with its stars and paparazzi to the seventies and eighties when photography began to reflect on itself and its language through its first tentative experiments with disintegration of the image. A true story told in pictures, an incredible and gripping tale of Italy and of photography, the history of a burning passion that has driven Zannier to collect, catalog and preserve thousands of images and objects.
Italo Zannier (1932) has taught at the DAMS in Bologna, at the Department of the Cultural Heritage of Ravenna University and the Catholic University in Milan. He is a member of the Société Européenne d'Histoire de la Photographie and chair of the advisory board of the Museo di Storia della Fotografia Alinari in Florence. Zannier has also devoted himself to an intense exhibition activity, organizing dozens of events. In particular the one on the Mediterranean landscape staged in Seville during the 1992 Expo and the photographic section of Italian Metamorphosis, the major exhibition on Italian art held at the Guggenheim in New York in 1994. The author of over 500 scientific and publications and photographic books, he edits the series of studies of the history of photography "Fotologia," published by Alinari.

About the Author

Denis Curti is a photography critic, journalist, curator of photo exhibitions and expert on the photography market. He is vice-president and director of institutional relations of Forma-Centro Internazionale di Fotografia, director of the Milan branch of the Contrasto photo agency and since 2006 director of the photography and visual design master program, created in association with NABA.  He is the author of several photography collections and coauthor of the Dizionario Mondiale della fotografia published by Rizzoli-Contrasto. He is periodically involved in teaching photographic culture at several Italian universities: the Bocconi, State University of Milan, IULM and Sacro Cuore.
Italo Zannier has taught the history of photography for many years. He is a member of the Societe Europeenne d’Histoire de la Photographie and chair of the advisory board of the Museo di Storia della Fotografia Alinari in Florence. Zannier has also devoted himself to organizing dozens of exhibitions over the years.

Imogen Cunningham, early feminist and master photographer, enjoyed a seventy-year career and fervently worked up until shortly before her death in 1976 at age 93. Both as a woman and an artist, Cunningham made some of the most outstanding historic contributions to fine art photography. Most known for her stunning close-ups of flowers ("Blumenformen"), Cunningham's first love was portraiture, from which she earned her living throughout most of her life. She also made great strides in nude photography, unfettered by the uproar caused by her first nude images in 1910. Cunningham's daring and brilliant work helped establish photography as an art from. Becoming a photographer was a childhood dream that Cunningham pursued with passionate determination. During her career she photographed thousands of individuals, including a great number of celebrities, writers, and artists such as Herbert Hoover, Ansel Adams, Frida Kahlo, Man Ray, Gertrude Stein, and Cary Grant. Her style was unique, fired by a complex, sensitive, and imaginative vision and a never-ending desire to experiment (she never tired of trying alternative techniques, a favorite of hers being double exposure). Cunningham was not afraid to stand apart from the crowd, her sensual flowers and bold nudes- notably a nude of a pregnant woman from 1946, a photographic first- earning her great respect and admiration from her contemporaries, notably Edward Weston and Ansel Adams. Imogen Cunningham: Life and Work 1883-1976 gathers together the best of her work from all her genres and includes an extensive illustrated biography and bibliography. Poetic and visionary, the remarkable work of Imogen Cunningham lives on this beautiful new book.

160 black & white plates

Jeanloup Sieff was the complete photographer. He was gifted in every arena of the medium: fashion and advertising, nude, reportage, portraits and landscape. Sieff claimed to be superficial and droll, without ever being very convincing, and left a rich collection of works created from the 1950s until the turn of the 21st century before his demise. He was a prodigiously productive artist and was often overtaken by the speed of the medium and his own success, normally short of the necessary time to delve into his archive. Hence many of the works published in this book have never been seen or previously published. With his characteristic sense of humour and light-hearted approach he wrote: my pictures are little black and white pebbles that I dropped on my way to adulthood, meant for leading me back to my adolescence.

Two artists, one vision. The enigmatic and genre-defying work of Inez van Lamsweerde and Vinoodh Matadin

"It is typical of the photographic art of van Lamsweerde and Matadin that they urge their image-making to de-stabilise the pristine surfaces expected of consumer culture; to this end, they make use, in turn, of the Gothic, inscrutability, androgyny, comedy, eroticism, surrealism, fantasy, montage, cinema, replication, image manipulation, Pop art, fetishism and art historical nuance." — Michael Bracewell

Inez van Lamsweerde and Vinoodh Matadin’s work has graced the walls and pages of some of the world’s finest galleries and fashion magazines, and if it is surprising that their photographs easily float between these worlds, it is by virtue of their ease in creating imagery that seeks homes in both culturally elite and mainstream outlets. For some of their photographs, such as their portrait of Björk or campaign for Givenchy, van Lamsweerde and Matadin have worked in collaboration with the art directors M/M (Paris), who have also designed this retrospective that looks back at "pretty much everything" that the photographers have been working on for over two decades and that has brought them to the forefront in the fields of both art and fashion.

This standard TASCHEN edition — an affordable version adapted from the limited edition — comes with a sheet of stickers so you can personalize your cover!

“This wondrous retrospective presents over two decades of witty, glamorous, and subversive images by Dutch photography duo van Lamsweerde and Matadin…the book will take pride of place in the collections of any fan of fashion and art photography.”
— Publisher’s Weekly, New York

“… 26 years of bold, inventive editorial and fashion work…like their subjects, the pictures are playful and dramatic in subtle ways and more memorable for it.”
— Los Angeles Times, Los Angeles

“Truly a collection for art historians to indulge... a piece of collectable and rare art in itself.”
— Dreaminggenius.com

“An indispensable work.”
— Glamour, Paris

“This wondrous retrospective presents over two decades of witty, glamorous, and subversive images by Dutch photography duo van Lamsweerde and Matadin…the book will take pride of place in the collections of any fan of fashion and art photography.”
— Publisher’s Weekly, New York

This book celebrates a remarkable achievement - the successful cooperation between one of the greatest photographers of the 20th Century, Irving Penn, and the Japanese designer Issey Miyake. Together they have managed not only to combine the Occident with the Orient but raise fashion to the status of art. The result is classical and futuristic at once, their fruitful encounter achieving a remarkable stylistic symbiosis.

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Der japanische Modedesigner Issey Miyake hat einen Sonderstatus. Das liegt nicht zuletzt auch daran, dass er für «Mode» nichts übrig hat, das Wort «Designer» für unzutreffend hält und sich lieber als «Kleiderfabrikant» bezeichnet. Aber macht der heute 61jährige Entwerfer wirklich nur Kleider? «Making Things» hiess seine letzte Ausstellung (NZZ 6. 1. 99): Als (Kunst-)Gegenstände sind denn auch Miyakes Kreationen seit den späten siebziger Jahren immer wieder in Museen gezeigt worden. 

In seinen fast 200 Aufnahmen, die seit 1986 entstanden und von denen jetzt 112 im Bildband «Irving Penn betrachtet das Werk von Issey Miyake» veröffentlicht worden sind, begreift auch der Photograph Irving Penn Miyakes Kleider als Kunstgegenstände. Das Buch hält, was sein Titel verspricht, mehr aber auch nicht. Der einleitende Essay kann weder inhaltlich noch sprachlich befriedigen. Vergeblich sucht man eine Erklärung für jene Photos, auf denen eine Etappe aus dem Entstehungsprozess eines Kleidungsstücks abgebildet ist. Dabei sind die vielfältigen, originellen Methoden, mit einem (Roh-)Stoff umzugehen, Miyakes Markenzeichen; ohne Erläuterungen vermag man auf besagten Abbildungen oft nicht mehr zu erkennen als verknotete Taschentücher oder dreifarbige Metallstreifen. Auch was die fertigen Kleider betrifft, hätte man ein paar Angaben zu den Materialien, den Models usw. erwartet.

Doch wo die Form zu wünschen übriglässt, beglückt der Inhalt. Penn, der sowohl Traumfrauen für «Vogue» als auch Eingeborenenstämme in Neuguinea oder Dahomey photographiert hat, betrachtet Miyakes Kleider wie selbständige Wesen mit einem magischen Eigenleben. Eine Form von Animismus schwingt mit. Das Model tritt demgegenüber zurück: Arme und Beine sind entweder gar nicht zu sehen oder in grotesken, rituellen, in jedem Fall unnatürlichen Stellungen; die Gesichter werden bald durch eine Kapuze, bald durch eine Perücke verdeckt oder zu Masken geschminkt. Das widerspricht zwar Miyakes Wunsch, dass seine Kreationen wie eine zweite Haut wirken sollten, fördert jedoch deren expressives Potential zutage, das im Suggestiven, Märchenhaft-Verwunschenen wurzelt. 

So wirkt das Buch wie ein Reigen von mysteriösen, keck-ironischen, manchmal auch beängstigenden, stets aber hoch individualisierten Kreaturen aus (viel) Stoff und (ein wenig) Haut: Ritter in schwarzglänzenden Papierrüstungen mit riesigen Halskrausen, breitbeinige Clowns mit aufblasbaren Spitzhüten aus Plastic, ein Plüschaffe mit grossen, kakaofarbenen Gürteltaschen zum Bananensammeln, ein hautfarbener Ganzkörperbody mit aufgedruckten Tattoo-Mustern, ein abstrakt-silberner, plissierter Weihnachtsbaum. Stoffe, so ursprünglich wie Erde, so zart wie Spinnweben. Als letztes Bild ein Anzug aus der (wie der Bildband verschweigt) «Starburst»-Linie von 1998: Recycling-Kleider für Grossstadtastronauten, mit aufgepressten Metallblättern, goldbronzen schimmernd. Zum Auf-den-Mond-Fliegen.

112 colour plates and 22 illustrations

- This book celebrates a remarkable achievement - the successful cooperation between one of the greatest photographers of the 20th Century, Irving Penn, and the Japanese designer Issey Miyake. Together they have managed not only to combine the Occident with the Orient but raise fashion to the status of art. The result is classical and futuristic at once, their fruitful encounter achieving a remarkable stylistic symbiosis.
- Issey Miyake's Kleider in Photographien von Irving Penn