Збірники робіт

Over the past few years Hedi Slimane’s ongoing design collaborations with musicians on their stage costumes has allowed him unfettered access around the stages of live concerts by David Bowie, The White Stripes, Beck, The Rolling Stones, Blondie, The Strokes, The Libertines … in Paris, London, Berlin, New York and LA.

This has evolved into a personal photographic investigation of the mythology of the rock concert. In his pictures the stars of the shows are often conspicuously absent. It is about the creation of a rock personality, the silent ritual that goes on in the space he inhabits. His images capture “the sacred-almost sacrificial-space of the stage.”

Nadav Kander’s work is a varied interplay of influences. His restrained and articulate compositions have a clarity and calm that draw the viewer into zen-like states. The London-based photographer’s exceptional talent has been rewarded with major success, and his work is featured in the Sunday Times Magazine, Rolling Stone, and Esquire among other publications. His unique skill is especially manifest in his spare and muted landscapes and his straight portraits. The Yangtze, The Long River work was awarded the second Prix Pictet. His Obama’s People feature — which he created for The New York Times Magazine in 2009 — have a haunting complexity few contemporary photographers could equal.

 - A long overdue tribute to one of the most varied photographers of his generation
 - Kander’s distinctive work is both accessible and startlingly original

Accompanying a retrospective of the pioneering photographer, this volume of more than 75 original works will thrill Duane Michals aficionados, while introducing younger viewers to an innovative artist who redefined the role of the photograph in artistic expression.

A self-taught photographer, Duane Michals broke away from established traditions of the medium during the 1960s. His messages and poems inscribed on the photographs, and his visual stories created through multiple images, defied the principles of the reigning practitioners of the form.

Indeed, Michals considers himself as much a storyteller as a photographer. Accompanying a major traveling retrospective of his work, this book features Michals's best-known early sequences, The Spirit Leaves the Body, Paradise Regained, and Chance Meeting -- as well as works from later in his career such as The Bewitched Bee and Who is Sidney Sherman?

Penetrating essays situate Michals within the history of 20th-century photography, explore the artist's images of sexual identity and sensuality, examine his legacy today, and address the childlike aspects of his work -- a theme that has never been widely examined.

An annotated timeline of Michals's biography includes rare archival materials and provides a unique glimpse into his life. Wide-ranging and timely, this volume offers a fresh appraisal of a popular artist who continues to create moving and experimental works that speak to a broad and evergrowing audience.

22 black-and-white and 33 four-color images

In her sympathetic pictures of performers and wrestlers from small towns in Ukraine, Eastern Europe, England, and Israel, Michal Chelbin offers a glimpse into worlds both strange and familiar. The settings, costumes, and even some of the subjects them­selves may seem exotic, but her portraits look beyond that to capture a transcendent sense of individual character.

Chelbin’s most frequent subjects are children and adolescents, yet her work encompasses a mix of generations. As Leah Ollman notes, “The atmosphere falls somewhere between public and private. There’s a slight titillation of having personal access to performers who, typically, are experienced only remotely. Most immediate, though, are the visual contrasts between young and old, large and small, innocence and experience.”

The palette is intense, and intensely appealing, with a distinctive use of saturated pinks, blues, and greens. Chelbin’s black-and-white images, which are intermingled throughout the book, have an almost Pictorialist richness. Though her influences are evident - most notably August Sander and Diane Arbus - the compelling photographs in Strangely Familiar, Chelbin’s first monograph, have a unique visual and emotional impact.

With the Photo Books from Schmolka, Poinsard and Babic, daab was already able to find new and young photographers with enough creative potential for coffee-table-sized books. Following the idea to support young artists, daab now discovered a new talent: Alexander Straulino, a young German photographer living in Berlin. Straulino’s photography explores the elusive void between fashion and art. His work is a unique dialogue between the conscious and the subconscious and questions our inbuilt beliefs in what beauty and eroticism actually are. Born in Munich in 1973, Straulino has lived in Los Angeles and Miami and had his first big photographical success in Prague. His work has appeared in many international publications including Vogue, Madame, Elle, Amica, Clam and Tush.

Adolphe Sylvain (1920-1991) stopped off in Tahiti in 1946 and, enchanted by the beautiful landscape, welcoming people, and a certain island beauty who called herself Tehani, decided to stay. He settled in and eventually married his hypnotic lover, working as a correspondent for magazines such as Paris Match, Life, and National Geographic. Drawn by an irrepressible desire to capture his surroundings and to share this lost, unknown world with those outside of it, he dedicated himself to photographing the island's many delights. Like Rousseau and Gauguin before him, he was captive to the people and places of a land so radically different from his own and chose it as his principal subject matter. Sylvain's rich, skilled black-and-white images are like visions of an earthly paradise, peopled with half-clad women wearing flowers in their hair, the sun reflecting off of their glowing skin. His images, capturing the timeless beauty of Tahiti, are a testament to the island's powerful magnetism. After Sylvain's death, his widow Jeanine-Tehani had a dream that a European embarked upon her island country and that she gave to this person all of her husband's photos to be made into a book. In a storybook twist of fate, it just so happened that Tehani's dream became a reality when photographer Gian Paolo Barbieri- born on the same day and hour as Sylvain- stopped off for a visit a few years later. He was mesmerized by Sylvain's photographs and eagerly gathered together his work to take back to Europe. Thus was born Tahiti, woven together by the strands of destiny and the vision of an impassioned photographer. Tahiti begins with a preface by Barbieri and an introduction by biographer, journalist, and longtime friend of Sylvain, Jean Lacouture, followed by Sylvain's best works, including landscapes, portraits, and images of celebrities visiting the island (such as Brigitte Bardot, Marlon Brando, and Charles de Gaulle). With these luscious, sensual images as evidence, it's not hard to see why Sylvain was enraptured by Tahiti's exotic, ethereal atmosphere, nor why he felt the need to photograph it. Sylvain's work has not met the success it deserves until now, as fate finally brings his photographs to the world with this retrospective tribute.

Andrey Tarkovsky was the most important Russian filmmaker of the post-war era, and one of the world’s most renowned cinematic geniuses.

Tarkovsky’s films are characterized by metaphysical themes, extended takes, an absence of conventional dramatic structure and plot, and a dream-like, visionary style of cinematography. They achieve a spiritual intensity and transcendent beauty that many consider being without parallel.

He directed the first five of his seven films – Ivan’s Childhood, Andrei Rublev, Solaris, Mirror and Stalker – in the Soviet Union, but in 1982 defected to Italy, where he made Nostalgia. His final film, The Sacrifice, was produced in Sweden in 1985.

This book presents extended sequences of stills from each of the films alongside synopses and cast and crew listings. It includes reflections on Tarkovsky’s work from fellow artists and writers including Jean-Paul Sartre and Ingmar Bergman, for whom Tarkovsky was ‘the greatest, the one who invented a new language.’

Extracts from Tarkovsky’s own writings and diaries offer a wealth of insights into his poetic and philosophical views on cinematography, which he described as ‘sculpting in time'. The book also reproduces many personal Polaroid photographs that confirm the extraordinarily poetic vision of a great artist who died aged only 54, but who remains a potent influence on artists and filmmakers today.

Contents List:

Essay by Andrej Tarkovsky Jr: The Closed Time • A Tarkovsky Biography • An Introduction to the Films by H. J. Schlegel • Essays on Tarkovsky • Private Photos and Polaroids: Russia

About the Author:

Andrey A. Tarkovsky is the son of filmmaker Andrei Tarkovsky.
Hans-Joachim Schlegel is a film historian and the editor and translator of the writings of Sergei Eisenstein and Andrei Tarkovsky.

List of Contributors:

Lothar Schirmer, Hans-Joachim Schlegel, Jean-Paul Sartre, Sven Nykvist, Erland Josephson, Ingmar Bergman, Chingiz Aitmatov, Aleksandr Sokurov

70 colour and duotone plates

Originally the catalogue to one of Robert Mapplethorpe’s last retrospective exhibitions, this book gives a complete survey of Mapplethorpe’s œuvre. It includes his best portraits, male and female nudes, and still lifes.

- The ultimate record of the work of a world-class photographer
- Capturing the iconic, candid, and unguarded moments of the famous and the notorious

Terry O'Neill is one of the world's most celebrated and collected photographers. No one has captured the frontline of fame so broadly - and for so long. For more than 50 years, he has photographed rock stars and presidents, royals and movie stars, at work, at play, and in private. He pioneered backstage reportage photography with the likes of Frank Sinatra, David Bowie, Sir Elton John and Chuck Berry and his work comprises a vital chronicle of rock and roll history. Now, for the first time, an exhaustive cataloguing of his archive conducted over the last three years has revisited more than 2 million negatives and has unearthed unseen images that escaped the eye over a career spanning 53 years.

Similarly, his use of 35mm cameras on film sets and the early pop music shows of the 60s opened up a new visual art form using photojournalism, to revolutionise formal portraiture. His work captured the iconic, candid, and unguarded moments of the famous and the notorious - from Ava Gardner to Amy Winehouse, from Churchill to Nelson Mandela, from the earliest photographs of young emerging bands such as the Beatles and the Rolling Stones to her Majesty the Queen at Buckingham Palace. O' Neill spent more than 30 years photographing Frank Sinatra, amassing a unique archive of more than 3,000 Sinatra negatives. Add to that the magazine covers, album sleeves, film posters and fashion shoots of 1,000 stars, and Terry O'Neill - comprises the most compelling and epic catalogue of the age of celebrity.

Terry O'Neill has worked for the most prestigious magazines in the world including Time, Newsweek, Stern, Bunte, Figaro, The Sunday Times, Vanity Fair, People, Parade, Vogue and many others. And his award launched to showcase the work of young emerging photographers is now one of the most highly prized global competitions in art. The Royal Society of Arts has honoured him with the rare Centenary Medal for his lifetime achievement. Only a dozen have ever been awarded in recognition of 'outstanding contributions to the art and science of photography.'

"Sex? What else? Why have my pants got a hole in the front?" Welcome to Terryworld, the land restraint forgot

Who took 1970s porn esthetic and made it fashion chic? Terry Richardson. Who made the trailer park trendy and the tractor hat de rigueur? Richardson again. Who’s equally at home in Vogue, Harper’s Bazaar, Purple and Vice? Our boy Terry. Who uses his fashion money to fund an X-rated website? Yes, Richardson. And who can’t resist getting his clothes off and jumping in front of his own lens? Well, that would be Terry Richardson as well.

Porn stars, supermodels, transsexuals, hillbillies, friends, pets, and celebrities all do for his lens what they’ll do for no other. And if anyone ever wonders why they did it, just blame it on Terryworld, where taboos are null and void, and fashion finds sex a perfect fit.

This edition’s special Panic Cover is reversible to a realistic-looking academic book to keep the real contents hidden from your annoying boss or even help you impress an attractive onlooker!!!

The editor:

Dian Hanson was born in Seattle in 1951. For 25 years she produced various men’s magazines, including Puritan, Juggs and Leg Show, before becoming TASCHEN's sexy book editor in 2001. Her many books for TASCHEN include The New Erotic Photography Vol. 2 and Robert Crumb: Sketchbooks 1982-2011. She lives in Los Angeles.

This first full-career monograph, featuring two decades of iconic fashion and celebrity editorial photographs, reveals the enormous influence and impact that Richardson has made on contemporary style, culture, and photography. 

Since Terry Richardson first rose to prominence in the 1990s, he was shocked and intrigued the world with his singular view and signature style of bold lighting, hypersexualized styling, and striking, off-kilter glamour. From glossy, high-end fashion photographs to raw in-studio portraits, Richardson’s work has had an unmistakable impact on contemporary visual culture. 

This much-anticipated monograph is the first to cover Richardson’s complete career to date. It chronicles more than twenty years of photographs, advertising campaigns, and editorial work, revealing the evolution of Richardson’s style, an unexpected mix of glamour and rawness. 

This two-volume set, which is separated into Richardson’s fashion photography and celebrity portraiture, features more than 600 photographs and includes early, rarely seen magazine work from now-defunct publications; iconic and influential work for magazines such as Vogue, Harper’s Bazaar, The Face, i-D, Vice, and Interview; advertising work for brands such as Gucci, Yves Saint Laurent, Chloé, and A.P.C.; and very intimate studio portraits. 

This compilation is an intriguing look at the mark Richardson’s work has made on fashion, photography, and pop culture, and it captures his edgy, provocative style in a book that is as unusual and unforgettable as the photographer himself.

About the Author:

Terry Richardson is an iconic American fashion, portrait, and documentary photographer.

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Пролистать книгу  Terry Richardson: Volumes 1 & 2: Portraits and Fashion

Who took 1970’s porn esthetic and made it fashion chic? Terry Richardson. Who made the trailer park trendy and the tractor hat de rigueur? Richardson again. Who’s equally at home in Vogue, Harper’s Bazaar, Purple and Vice? Our boy Terry. Who uses his fashion money to fund an X-rated website? Yes, Richardson. And who can’t resist getting his clothes off and jumping in front of his own lens? Well, that would be Terry Richardson as well.

Porn stars, supermodels, transsexuals, hillbillies, friends, pets, and celebrities all do for his lens what they’ll do for no other. And if anyone ever wonders why they did it, just blame it on Terryworld, where taboos are null and void, and fashion finds sex a perfect fit.

Includes over 70 new photographs not featured in the original edition

In the persona of André S. Solidor, veteran photographer Elliott Erwitt plunges deeply into the kookier excesses of contemporary photography.

Connotation, denotation, “relevance,” André S. Solidor has covered all the bases. Solidor’s “best masterpiece to date” features an “exuberantly eclectic” selection of topics — smoking fish heads, pneumatic mannequins in incongruous poses, not to mention some “up-close and personal” shots of Solidor himself. Plus for all you postmodernist groupies out there, there’s context and commentary galore. Did we mention the gratuitous nudity?

 - A satirical spoof of contemporary art photography
 - The perfect gift for all bewildered by art that means too much and gives too little

The Ballad of Sexual Dependency is a visual diary chronicling the struggle for intimacy and understanding between friends and lovers collectively described by Nan Goldin as her "tribe." Her work describes a world that is visceral and seething with life. As Goldin writes: "Real memory, which these pictures trigger, is an invocation of the colour, smell, sound, and physical presence, the density and flavour of life."