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In this new collection from Annie Leibovitz, one of the most influential photographers of our time, iconic portraits sit side by side never-before-published photographs. Afterword by Annie Leibovitz.

Annie Leibovitz: Portraits 2005-2016 is the photographer's follow-up to her two landmark books, Annie Leibovitz: Photographs, 1970-1990 and A Photographer's Life, 1990-2005. In this new collection, Leibovitz has captured the most influential and compelling figures of the last decade in the style that has made her one of the most beloved talents of our time. Each of the photographs documents contemporary culture with an artist's eye, wit, and an uncanny ability to personalize even the most recognizable and distinguished figures.

About the Authors:

Annie Leibovitz is one of the most influential photographers of our time. Her career spans nearly five decades, starting in the 1970s when she was a widely acclaimed photographer at Rolling Stone. At Vanity Fair and Vogue and in independent projects, Leibovitz expanded her repertoire as a portraitist with a distinctive style. Her many honors include being designated a Living Legend by the Library of Congress, and her work is exhibited at museums around the world.

Alexandra Fuller is a prize-winning writer, whose memoirs Don't Let's Go to the Dogs Tonight and Leaving Before the Rains Come have met with public and critical acclaim. Her articles and reviews have appeared in numerous publications, including The New Yorker, Granta, The New York Times, Guardian, and National Geographic.

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Посмотреть новое издание книги Annie Leibovitz: Portraits 2005-2016

In this new collection from Annie Leibovitz, one of the most influential photographers of our time, iconic portraits sit side by side never-before-published photographs. Afterword by Annie Leibovitz.

Annie Leibovitz: Portraits 2005-2016 is the photographer's follow-up to her two landmark books, Annie Leibovitz: Photographs, 1970-1990 and A Photographer's Life, 1990-2005. In this new collection, Leibovitz has captured the most influential and compelling figures of the last decade in the style that has made her one of the most beloved talents of our time. Each of the photographs documents contemporary culture with an artist's eye, wit, and an uncanny ability to personalize even the most recognizable and distinguished figures.

About the authors:

Annie Leibovitz is one of the most influential photographers of our time. Her career spans nearly five decades, starting in the 1970s when she was a widely acclaimed photographer at Rolling Stone. At Vanity Fair and Vogue and in independent projects, Leibovitz expanded her repertoire as a portraitist with a distinctive style. Her many honors include being designated a Living Legend by the Library of Congress, and her work is exhibited at museums around the world.

Alexandra Fuller is a prize-winning writer, whose memoirs Don't Let's Go to the Dogs Tonight and Leaving Before the Rains Come have met with public and critical acclaim. Her articles and reviews have appeared in numerous publications, including The New Yorker, Granta, The New York Times, Guardian, and National Geographic.

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Пролистать книгу Annie Leibovitz: Portraits 2005-2016

___________

Посмотреть новое издание книги Annie Leibovitz: Portraits 2005-2016

ANSEL ADAMS AT 100 was published in conjuction with an outstanding international exhibition that opened in August 2001 at the Museum of Modern Art in San Francisco and has travelled to Chicago, New York, Los Angeles, Berlin and London. This book presents a fresh look at Adams' classic images, an unexpected and sometimes unfamiliar body of his work, offering the first serious effort to reconsider Adams' contribution to the art of photography in half a century. A critical and interpretive essay on this master photographer by John Szarkowski speaks of the importance of Adams as a modern artist.

The book boasts extremely high production values, featuring 110 tritone images printed on a special paper, a linen cloth binding with matching slipcase and a reproduction print (suitable for framing) embossed with the AA seal and inserted in an envelope at the back of the book. Without a doubt, this is the most important and influential book yet published on Ansel Adams.

Adams began to photograph in colour in the mid-1930s. He did significant personal or 'creative' photography in colour and his distinctive visualisation of a scene and technical mastery is immediately evident in these photographs. Overall, he made nearly 3,500 colour images, but only a small fraction have ever been published.

 Ansel Adam thought seriously about publishing his colour images but the task was not accomplished during his lifetime. The Ansel Adams Publishing Rights Trust - with advice and counsel from John Szarkowski, former Director of Photography at New York's Museum of Modern Art; David Travis, Curator of Photographs at the Art Institute of Chicago and James Enyeart, former Director of the International Museum of Photography at George Eastman House--asked the distinguished master photographer Harry Callahan to select the best of Adams' colour work for publication in this book.

Revered for his photo portraits of rock and pop stars, Dutch born son of a preacherman and image maker Anton Corbijn has meanwhile become a cult figure himself. In his new book, he carries the ego and idol spiel to an ironic extreme with self-portraits of Anton Corbijn as John Lennon, Jim Morrison, Kurt Cobain, Frank Zappa and more.

Of course, Anton Corbijn’s longtime bestseller is available again: his portrait gallery of the heroes and enfants terribles of film, literature, fashion, pop and rock.

With 25,000 copies sold, Anton Corbijn's blockbuster book documenting his 22-year friendship with the Irish rock group U2 is now available in an inexpensive reduced-size version. It presents a wealth of official and private pictures taken between 1982, when they first met in New Orleans, and their April 2004 Lisbon shooting for U2's How to Dismantle an Atomic Bomb album.

The subject is Japanese photographer Araki, a man who talks about life through photographs. His powerful oeuvre, decades' worth of images, has been pared down to 540 pages of photographs which tell the story of Araki and comprise the ultimate retrospective collection of his work.

Known best for his intimate, snapshot-style images of women often tied up with ropes (kinbaku, Japanese rope-tying art) and of colorful, sensual flowers, Araki is an artist who reacts strongly to his emotions and uses photography to experience them more fully. Obsessed with women, Araki seeks to come closer to them through photography, using ropes like an embrace and the click of the shutter like a kiss. His work is at once shocking and mysteriously tender; a deeply personal artist, Araki is not afraid of his emotions nor of showing them to the world.

About the Author:

Nobuyoshi Araki was born in Tokyo in 1940. Given a camera by his father at the ripe age of twelve, Araki has been taking pictures ever since. He studied photography and film at Chiba University and went into commercial photography soon after graduating. In 1970 he created his famous Xeroxed Photo Albums, which he produced in limited editions and sent to friends, art critics, and people selected randomly from the telephone book. Over the years, his bold, unabashed photographs of his private life have been the object of a great deal of controversy and censorship (especially in his native Japan), a fact that has not fazed the artist nor diminished his influence. To date, Araki has published over 400 books of his work.

Red petals and rope binding. The ultimate Araki collection

Decades’ worth of images have been distilled down to 568 pages of photographs in this ultimate retrospective collection of Nobuyoshi Araki's work, selected by the artist himself.

First published as a limited edition and now available as a standard TASCHEN edition, the curation delves deep into Araki's best-known imagery: Tokyo street scenes; faces and foods; colorful, sensual flowers; female genitalia; and the Japanese art of kinbaku, or bondage. As girls lay bound but defiant and glistening petals assume suggestive shapes, Araki plays constantly with patterns of subjugation and emancipation, death and desire and with the slippage between serene image and shock.

Describing his bondage photographs as a'a collaboration between the subject and the photographer’, Araki seeks to come closer to his female subjects through photography, emphasizing the role of spoken conversation between himself and the model. In his native Japan, he has attained cult status for many women who feel liberated by his readiness to photograph the expression of their desire.

About the Author:

Nobuyoshi Araki was born in Tokyo in 1940. Given a camera by his father at the ripe age of twelve, Araki has been taking pictures ever since. He studied photography and film at Chiba University and went into commercial photography soon after graduating. In 1970 he created his famous Xeroxed Photo Albums, which he produced in limited editions and sent to friends, art critics, and people selected randomly from the telephone book. Over the years, his bold, unabashed photographs of his private life have been the object of a great deal of controversy and censorship (especially in his native Japan), a fact that has not fazed the artist nor diminished his influence. To date, Araki has published over 400 books of his work.

Welcome to the era of the no-panties coffee shop. Tokyo "entertainment centers" in the early 1980s photographed by Araki

It started in 1978 with an ordinary coffee shop near Kyoto whose waitresses famously wore no panties under their miniskirts and see-through pantyhose. As word began to spread, similar establishments popped up across the country. Men lined up outside these cafés waiting to pay three times the usual price for coffee served by a panty-free young woman, hoping to catch a fortuitous glimpse. Within a few years, a new craze took hold: the no-panties "massage" parlor. Competition for customers led these new types of businesses to offer an increasingly bizarre range of services: fondling clients through holes in coffins whilst they lie naked inside playing dead, interiors catering to commuter-train fetishists, young virgin role-playing, etc. Amongst these many destinations was a Tokyo club called Lucky Hole. Here, the premise was ridiculously simple: clients stood on one side of a plywood partition, a hostess on the other; in between, them was simply a hole big enough for a certain part of the male anatomy to pass through.

About the Author:

Nobuyoshi Araki was a frequent visitor to the sex clubs of Tokyo’s Shinjuku neighbourhood, and he photographed them profusely until the golden age of Japan’s sex industry came to a screeching halt in February 1985, with the enactment of the New Amusement Business Control and Improvement Act. In over 800 photos, Tokyo Lucky Hole documents the free-for-all spirit of those clubs via Araki’s lens.

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!

Colour and texture radically influence how we perceive shapes. While looking for an innovative approach on a 1995 Miami photo shoot, photographic master Guido Argentini was moved to coat a model in silver makeup.

The result was as beautiful as it was intriguing - the subtle grayish tones highlighted angles and surfaces in a way that was other-worldly. Inspired by the results, Argentini created a whole series of silver-hued models. In so doing, he uncovered a fresh perspective for nude photography.

Evoking the luminous polished planes of Brancusi and the verve of Degas' ballet sketches, these photographs endow the human body with both the solidity of sculpture and the vivid energy of dance.

Guido Argentini «Argentum»

Книга Guido Argentini «Argentum» – расскажет о том, как цвет и текстура могут радикально влиять на восприятие формы человеком. В поисках инновационного и нестандартного подхода к фотографии, во время фотосессии в Майами 1995 гада, Фотограф Гвидо Аргентини нанес на тело своей модели серебряную краску. Результат получился настолько красивым и интригующим, что Argentini создал целую серию фотографий моделей серебристого цвета. Тонкие серые тона делали все углы более четкими и графичными, а поверхность казалась какой-то иной. При этом фотограф открыл новый, необычный подход для обнаженный фотографии.

Guido Argentini «Argentum»– содержит в себе большое количество фотографий, напоминающих блестящие, отполированные скульптуры Бранкузи, и воодушевленные балетными зарисовками Дега, которые наделяют человеческое тело не только прочностью скульптуры, но и энергией танца.

Piet Mondrian behind his easel, Igor Stravinsky at his piano, Max Ernst sitting smoking on his throne-like chair: the photographs of Arnold Newman (1918-2006) are classics of portraiture. His subtle arrangements constituted the foundations of “environmental portraiture.” His photographs integrate the respective artist’s characteristic equipment and surroundings, thus indicating his or her field of activity. The enormous fame of Newman’s portraits can be ascribed to their daring compositions and sometimes astounding spatial structures. The photographer’s beginnings, however, were none too promising. During the Great Depression, Newman had to abandon his art studies for financial reasons. Between 1938 and 1942 he concentrated on socio-documentary photography in the ghettos of West Palm Beach, Philadelphia, and Baltimore. One might think that being forced to earn his living in a photography studio would have stifled his artistic potential: Newman portrayed up to 70 clients a day. Yet he still succeeded in developing a very personal touch and establishing himself in the New York art scene of the early 1940s. His subjects included Marcel Duchamp, Marc Chagall, Jackson Pollock, Willem de Kooning, and Alexander Calder among many others. With his unmistakable style, Newman became the star photographer of artists, writers, and musicians. This new edition, which includes recent work and an updated biography, provides a sweeping overview of Newman’s illustrious career.

Following his career-spanning monograph The Big Picture, Arthur Elgort pays homage to his first love and eternal muse in this new collection of photographs. While glimpsing ballet through Elgort’s lens we are taken not to the front of the stage but behind the scenes, where the hard work is done.

On this journey through the hallways and rehearsal spaces of some of the world’s most distinguished ballet schools, including the New York City Ballet and the Vaganova Academy of Russian Ballet, we see previously unpublished images of legends such as Balanchine, Baryshnikov and Lopatkina.

The perfection of the prima ballerina disappears in these quiet photographs where the viewer is able to witness the individual dancers’ natural glamour as they work to perfect their craft. Elgort’s snapshot style allows the pain and pleasure of one of the world’s most beloved forms of expressive dance to be seen with beauty.

The night shots by Axel Hütte, born 1951, present empty riverside promenades dotted with lanterns, illuminated office buildings, landscapes immersed in darkness with a single light at the horizon, and one sunset showing the last glow in the blackness of the night.

Die beruflichen Anfänge eines der wichtigsten Photographen des 20. Jahrhunderts waren bisher kaum erforscht. August Sander (1876-1964), der mit seinem epochalen Portraitwerk Menschen des 20. Jahrhunderts ästhetisch und konzeptuell Maßstäbe setzte, die bis heute gültig sind, begann seine Laufbahn als selbständiger Photograph im österreichischen Linz. Dort eröffnete er 1901 ein Atelier für Portrait- und Landschaftsaufnahmen, knüpfte gesellschaftliche Kontakte, die seinem Geschäft zugute und den eigenen künstlerischen und musikalischen Neigungen entgegenkamen und beteiligte sich - auch mit Gemälden - an Ausstellungen und Wettbewerben. In Sanders Linzer Zeit fallen die auf breiter Front geführten Diskussionen um eine Erneuerung des Mediums. Der »Piktoralismus« der Jahrhun- dertwende und die kommerzielle Studiophotographie gerieten mehr und mehr ins Kreuzfeuer der Kritik. Vor allem beim Portrait wurde der Ruf nach mehr Lebensnähe und Authentizität laut. August Sander fand sich hier in seiner eigenen Suche nach neuen gestalterischen Mitteln bestätigt - und anerkannt. Als die Familie 1909 nach Köln übersiedelte, waren die Grundlagen für die weitere Entwicklung seines photographischen Werks gelegt. Rund 330 Originale haben sich aus Sanders Linzer Jahren erhalten. Ergänzt durch weiteres Bildmaterial, das nur in Reproduktionen oder über Beschreibungen in Katalogen und Fachblättern greifbar ist, ergab sich ein »Linzer Bestand«, den die Photographische Sammung/SK Stiftung Kultur, Köln in Kooperation mit der Landesgalerie Linz einer eingehenden wissenschaftlichen Recherche unterzogen hat. Ergebnis dieser mehr- jährigen Forschungsarbeit ist die vorliegende Publikation, die eine Ausstellung in Linz und Köln begleitet.