Збірники робіт

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

The definitive book on the work of a virtuosic and revered American photographer Irving Penn (1917-2009) was among the most esteemed and influential photographers of the 20th century.

Over the course of a nearly seventy-year career, he mastered a pared-down aesthetic of studio photography that is distinguished for its meticulous attention to composition, nuance, and detail.

This indispensable book features one of the largest selections of Penn's photographs ever compiled, including famous and beloved images as well as works that have never been published. Celebrating the centennial of Penn's birth, this lavish volume spans the entirety of his groundbreaking career. An enlightening introduction situates his work in the context of the various artistic, social, and political environments and events that affected the content of his photographs.

Lively essays acquaint readers with Penn's primary subjects and campaigns, including early documentary scenes and imagery; portraits; fashion; female nudes; peoples of Peru, Dahomey (Benin), New Guinea, and Morocco; still lifes; and much more.

Irving Penn: Centennial is essential for any fan of this artist's work or the history of 20th-century photography.

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The catalogue produced to accompany the landmark "Irving Penn: Centennial" retrospective (on view at The Metropolitan Museum of Art from April 24 through July 30) offers an extensive and scholarly look at the many facets of Penn’s career.

An enlightening introduction situates his work in the context of the various artistic, social, and political environments and events that affected the content of his photographs. Lively essays acquaint readers with Penn's primary subjects and campaigns, including early documentary scenes and imagery; portraits of cultural figures and celebrities; fashion; female nudes; peoples of Peru, Dahomey (Benin), New Guinea, and Morocco; and still-lifes. Rounding out the book are discussions of Penn's advertising pictures and his painstaking printing processes, as well as an illustrated chronology. 

Irving Penn: Centennial, by Maria Morris Hambourg, Jeff L. Rosenheim; with contributions by Alexandra Dennett, Philippe Garner, Adam Kirsch, Harald E.L. Prins, Vasilios Zatse

Published by The Metropolitan Museum of Art, New York
Distributed by Yale University Press, New Haven and London
Printed in Italy
372 pages; 365 color, tritone, and quadtone illustrations; chronology; index

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Пролистать книгу Irving Penn: Centennial на Google Books.

51 tritone plates

“Is that so Kid” was a typical reaction by the film director, John Huston, father of Anjelica. In 1973 Bailey did all his major fashion shoots for British Vogue with actress and then sometimes model, Anjelica Huston. The book is a record of this photographic collaboration.

A marvelously illustrated look at the world and the work of Isabella Blow, a central figure in the contemporary fashion world.

From her early days bringing legendary artists such as Michel Basquiat into the offices of American Vogue to the twenty-first-century drama of her televised attempted takeover of the Indian and Middle-Eastern fashion industries, the awesome Isabella Blow pushed boundaries in the fashion world, using her personality as her most offensive weapon. Famous for discovering talents such as Alexander McQueen, Sophie Dahl, and Hussein Chalayan, she nurtured and inspired artists and designers across the industry, as well as serving as muse to the well-known milliner Philip Treacy. She was also a unique stylist, collaborating with major photographers such as Sean Ellis and Robert Astley Sparke on infamous shoots that combined gothic and erotic.

Martina Rink has brought together all those who were moved, influenced, discovered, and inspired by Isabella, in a volume that celebrates not only her life but also her outrageous personality, which left an indelible mark on all who met her. Texts and personal letters written exclusively for this book have been collected from legendary names in the fashion world, from Mario Testino and Manolo Blahnik to Hussein Chalayan and Anna Wintour. There are photographs by some of fashion’s greatest photographers, including Rankin, Donald McPherson, and Richard Burbridge, and illustrations by Hilary Knight and Paul Smith, in a homage to Isabella that celebrates her astonishing life.

In a remarkable debut from a rapidly rising photographer, Kevin Landers intimately connects us with the quotidian objects and moments that make up the topography of New York City. Jackpot is a 17-year retrospective of his candid and unvarnished encounters with entities and artifacts that capture the grittiness, incongruity, and simplicity of a metropolis that harbors relics of all proportions.

“…the images function as a kind of survey of New York during an era in which downtown transformed itself from an immigrant and artist district to one with Whole Foods on major cross-streets and luxury high-rises on unlikely avenues like the Bowery. Mr.Landers ignores the new arrivals and focuses on the old guard….And while [the images] owe plenty to color photography pioneers like William Eggleston and Stephen Shore - saturated prints, lingering on the odd, quirky object - they are grounded in a locale and moment of their own.”
 - The New York Times

“A survey of the color photographs that Landers made between 1990 and 2007 showcases a slacker sensibility too amused and blasé to be seriously cynical. Like a grungier Martin Parr or Tony Feher with a camera, Landers makes pictures of people and products that tease Pop mercilessly. Studio still-lifes of panhandlers’ cups, three-card-monte cardboard totems, and plastic bags snagged on broken branches rescue their subjects as found sculpture….Call it photography of the absurd, but nobody does it better.”
 - The New Yorker

Jacques-Henri Lartigue (1894-1986) is a central figure of importance in the history of photography. "An amateur graced with genius for forms", at the age of 12 he was already producing photographs capturing the carefree antics of his eccentric family and friends. It was in these early years that he developed a fascination for the subjects that concerned him throughout his life: the immensity of the world to a child; the seaside; women of fashion; and above all, movement -from people walking or jumping, to flying machines and motor cars. Lartigue's photographic work was little-known until the 1960s, which gave him a unique freedom to create images for himself alone, unfettered by the criticism of others. His images evoke the sparkle of a long-gone era, documenting an idyllic world of ladies with parasols and gravity-defying hats; people flying kites or strolling in the park, on bicyles and at the races. This book offers an illustrated tribute to this photographer.

This exhibition, consisting of works created in or after 1990 and selected from the museum's collection, attempts to reflect not only the new paradigm that has emerged in contemporary art but also how it has gradually worked its way into the collection. Janus: The Double Face of Photography takes its name from the mythological Roman god who was represented by two faces looking in opposite directions, symbolising change and transition. The name of Janus has been used as a metaphor for the transformation of photography, arrayed in a series of dichotomies: analogue/ digital, negative/ positive, monochrome/ colour, reality/ fiction, creation/ manipulation and documentary/ artistic. The exhibition is divided into three thematic sections where the critical perspectives of the different artists converge: architecture, nature and people. A political dimension ties them together and connects with the viewing public.

200 black & white plates

Jean-Louis Dumas always carries with him two things, a small red notebook and an old Leica. He has taken photographs all his life, mostly in black and white, cataloguing momentous moments and trivial asides on his extensive travels with work, family and friends. Dumas is a sophisticated amateur photographer whose professional milieu, as creative director of Hermès for 30 years, and friendships with masters of the medium such as Edouard Boubat, have instilled in his photography an elegant sensibility. This collection brings together a life’s work and reflects a love affair with photography.

“I have been searching for time past all my life.” - Jeanloup Sieff In this unique monograph, Jeanloup Sieff (1933-2000) retraces in word and image the course of forty years of photographs, encounters, and memories. Divided into four chapters, from the 50s to the 90s, the book brings together the major photographs of a creator who left his imprint on a generation with prolific work in the fields of fashion, advertising, and portrait photography. Sieff’s art testifies to his tireless quest to capture the fleeting beauty of “temps perdu,” or “time which cannot recur.”

In this unique monograph, Jeanloup Sieff (1933-2000) retraces in words and images the course of 40 years of photographs, encounters, and memories. Divided into four chapters, from the 50s to the 90s, the book brings together the major photographs of a creator who left his imprint on a generation with prolific work in the fields of fashion, landscape, advertising, and portrait photography. Sieff's art testifies to his tireless quest to capture the fleeting beauty of "temps perdu," or "time which cannot recur."

About the photographer:

Jeanloup Sieff (1933–2000) was one of the most highly regarded art, fashion, portraiture photographers of his generation, who worked mainly in black and white. After photgraphic studies in his native Paris he travelled the world working for Magnum, before settling in New York during the 1960s, working for Esquire, Glamour, Vogue and Harper's Bazaar. He was awarded the Chevalier des Arts et Lettres in 1981, and his work was exhibited in museums and galleries around the world.