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The lifetime work of recently discovered street photographer Vivian Maier has captivated the world and spawned comparisons to photography's masters including Diane Arbus, Helen Levitt, Lisette Model, Walker Evans and Weegee. Now, for the first time, Vivian Maier: Self-Portraits will present the fullest and most intimate portrait of the artist herself with approximately 60 never-before-seen black-and-white and colour self-portraits culled from the extensive Maloof archive, the preeminent collector of the work of Vivian Maier.

About the Authors:

There is still very little known about the life of Vivian Maier. What is known is that she was born in New York in 1926 and worked as a nanny for a family on Chicago's North Shore during the 50s and 60s. Seemingly without a family of her own, the children she cared for eventually acted as caregivers for Maier herself in the autumn of her life. She took hundreds of thousands of photographs in her lifetime, but never shared them with anyone. Maier lost possession of her art when her storage locker was sold off for non-payment. She passed away in 2009 at the age of 83.

John Maloof is a filmaker and street photographer. He discovered the first negatives of Vivian Maier's work in 2007 while compiling a book about the history of the neighborhood where he grew up. He edited the first published collection of Maier's work, Vivian Maier: Street Photographer (powerHouse Books, 2011).

Elizabeth Avedon is an independent curator and writer. The former Director of Photo-Eye Gallery, Santa Fe and Creative Director for The Gere Foundation, she has received awards and recognition for her exhibition design and publishing projects, including the retrospective exhibition and book: Avedon: 1949&;1979 at the Metropolitan Museum of Art, Dallas Museum of Fine Arts; and Richard Avedon: In the American West for the Amon Carter Museum, the Corcoran Gallery of Art, and The Art Institute of Chicago, among many others. Elizabeth is a regular contributor to Le Journal de la Photographie profiling notable leaders in the world of Photography.

There is still very little known about the life of Vivian Maier. What is known is that she was born in New York in 1926 and worked as a nanny for a family on Chicago's North Shore during the 50s and 60s. Seemingly without a family of her own, the children she cared for eventually acted as caregivers for Maier herself in the autumn of her life. She took hundreds of thousands of photographs in her lifetime, but never shared them with anyone. Maier lost possession of her art when her storage locker was sold off for non-payment. She passed away in 2009 at the age of 83.

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Пролистать книгу Vivian Maier: Self-Portraits на Google Books.

A good street photographer must be possessed many talents: an eye for detail, light, and composition; impeccable timing; a populist or humanitarian outlook; and a tireless ability to constantly shoot, shoot, shoot, shoot and never miss a moment. It is hard enough to find these qualities in trained photographers with the benefit of schooling and mentors and a community of fellow artists and aficionados supporting and rewarding their efforts. It is incredibly rare to find it in someone with no formal training and no network of peers.

Yet Vivian Maier is all of these things, a professional nanny, who, from the 1950s until the 1990s, took over 100,000 photographs worldwide — from France to New York City to Chicago and dozens of other countries — and yet showed the results to no one. The photos are amazing both for the breadth of the work and for the high quality of the humorous, moving, beautiful, and raw images of all facets of city life in America’s post-war golden age.

It wasn’t until local historian John Maloof purchased a box of Maier’s negatives from a Chicago auction house and began collecting and championing her marvellous work just a few years ago that any of it saw the light of day. Presented here for the first time in print, Vivian Maier: Street Photographer collects the best of her incredible, unseen body of work.

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Пролистать книгу Vivian Maier: Street Photographer на Google Books.

An amateur street photographer, Vivian Maier worked for forty years as a nanny in Chicago. 

During these years she took over 100,000 pictures, primarily of people and cityscapes, but never shared them with anyone. They were accidently rediscovered by Chicago historian, John Maloof, in 2007. 

He now presents the first comprehensive publication of this unknown photographic talent’s sensational treasure. 

Images © The Helmut Newton Estate / Maconochie Photography

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Пролистать книгу Vivian Maier: Street Photographer на Google Books.

‘The real thing that I’m talking about has purity and a certain severity, rigour, simplicity, directness, clarity, and it is without artistic pretension in a self-conscious sense of the word.’

It was Walker Evans himself who provided this perfect definition of his own work. He photographed Depression-era America with a constant striving for objectivity, a kind of documentary neutrality. Nevertheless, the sculptural subtlety of his images and the close attention he pays to both people and things marked an entire generation of artists.

PHOTOFILE brings together the best work of the world’s greatest photographers, in an attractive format and at an easily affordable price. Handsome and collectable, the books are produced to the highest standards. Each volume contains some sixty full-page reproductions printed in superb duotone, together with a critical introduction and a full bibliography. The series has been awarded the first annual prize for distinguished photographic books by the International Center of Photography, New York.

1169 illustrations, 31 in colour,1121 in duotone

This unprecedented volume bring together for the first time Evans's photographs from the archive that contains more of his images than any other in the world.

Shown here in remarkable duotone reproductions are icons of twentieth-century photography, such as Evans's pictures of tenant farmers and their families taken in the 1930s, but also many less well known, such as those he took in the 1940s of the Ringling Brothers circus and many previously unpublished images.

Walker Evans ranks with Stieglitz, Steichen and Strand as a photographer of the highest calibre.

His images captured forever the harshness of the Depression, the beauty of nineteenth-century brownstone architecture, the evocative presence of everyday trash, the very essence of American life.

His three years of work in the depression-hit South produced his most famous series, the book Let Us Now Praise Famous Men, with text by James Agee. At the same time, Evans assembled his influential exhibition 'American Photographs' at the Museum of Modern Art, New York, recreated here in its entirety. Towards the end of his life he even experimented with colour photographs which are reproduced here for the first time in any book.

Walker Evans: The Hungry Eye has been assembled by John T. Hill, longtime friend of Evans and executor of his estate, and the distinguished French writer on photography Gilles Mora. All phases of Evans' creative career are presented, each section preceded by an explanatory essay, establishing a definitive canon of Evans' finest work. The pictures themselves are reproduced to the highest standards from the original negatives.

This is the broadest, most comprehensive summary of Walker Evans' achievement ever published. It offers an unequalled tribute to a distinguished and innovative photographer who endowed his own America with universal significance.

Paparazzo - Italian for pesky - is synonymous with Ron Galella, the photographer who made his name capturing celebrities in unguarded, often private moments. Famously banned from approaching Jackie Onassis and punched by Marlon Brando, Galella was a favorite of Andy Warhol, who shared his fascination with the great and near-great. Warhol himself recorded his nightly rounds through a seemingly endless parade of parties, openings, and happenings in his diaries. In these photographs Galella presents the definitive visual diary of Warhol's life and times, his entourage, and his haunts. Through his Interview column, "Glenn O'Brien's Beat," O'Brien was a key commentator on the period. His text places Galella in Warhol's world and in the history of modern photography, describing his ground-breaking work, which Warhol was the first to recognize as "the great unauthorized portrait of our time."

For the follow-up to his massive ultimate fighting opus Octagon (powerHouse Books, 2007), photographer Kevin Lynch turned his focus away from the bright lights and brutality of the mixed martial arts world, and toward a far more personal subject. Watercolours is a collaboration between Lynch and his wife Hillary, a series of abstracted nudes taken in the swimming pool of their California home that transform the human figure into twisting ribbons of color and brilliant bursts of light.

In creating these images, Lynch decided to forgo his usual high-resolution digital camera and elaborate lighting setup in favor of tools more classic and familiar: a 35 mm camera, low shutter speeds, and the pool light as the only source of illumination. As a result, the stark, unsparing detail that defined Octagon gives way to a fluid softness and a palpable air of tenderness and love. Watercolours trades the gritty realism of the artist’s past work for an impressionistic gaze that betrays passionate emotion and a painter’s eye.

Bernadу creates projects to express his keen eye and spirit. Despite his having explored American spaces and cities in Japan and Europe, Bernadу has always maintained his focus on Spain, attentive to the evolution of its landscape and the dйcor of its interiors that is linked to very different worlds. He casts an amusing look at the details that only he is able to see and makes them distinct. His images turn reality into a theatre set. The boundaries between the real and the unlikely become blurred. Beyond Bernadу's vision of the superficial world and his form of satire, one is given a glimpse of his inspired personality on this guided tour of the 20th-century playwrights who have brought the senseless and the ridiculous to the stage, even the grotesque, as embodied in the writings of Cervantes and the paintings of Goya. And behind this cumulus of symbols, there is the depiction of absurdity.

Wer verbirgt sich hinter den legendären Initialen HCB, wer genau ist Henri Cartier-Bresson - dieser Mann, der gegen seinen Willen zum Mythos geworden ist, der die Photographie, und nicht nur den Bildjournalismus des 20. Jahrhunderts mit seinem ganz persönlichen Stil und Ethos geprägt hat, der Form und Inhalt in einer Art und Weise zu verbinden wußte, dass es heute undenkbar scheint, die Welt der Fakten und des Sichtbaren, ob alltäglich oder spektakulär, anders wiederzugeben, als er es ein halbes Jahrhundert lang tat? Die Frage ist so komplex und vielschichtig wie die Persönlichkeit und das Werk Henri Cartier-Bressons, dessen 95. Geburtstag in diesem Jahr mit zwei außergewöhnlichen Ereignissen gefeiert wird: im Frühjahr mit einer großen Retrospektive in der Biblioth que nationale de France, Paris, und mit der die Ausstellung begleitenden großen Monographie, die wir hier in der deutschen Übersetzung anbieten.

Auf über 400 Seiten, in acht Textbeiträgen von namhaften Autoren - darunter Je an Clair, Peter Galassi und Robert Delpire - und mit mehr als 600 Abbildungen gibt dieses opulente Buch die endgültigen Antworten auf die Frage, um wen es sich bei dem Photographen und Filmemacher, dem Künstler, dem Kosmopoliten und dem Menschen Henri Cartier-Bresson handelt.

The Kids Are Alright der Titel von Ryan McGinleys erstem, noch handgemachtem Buch, das 2000 seine erste Photoausstellung in einer leerstehenden Galerie in SoHo begleitete, könnte für sein gesamtes bisheriges Werk stehen. Der 1977 geborene Shooting Star der New Yorker Photoszene hat sich seit seinen Anfängen unter seinesgleichen bewegt, den Kids in downtown New York, Jugendlichen bei Ausflügen aufs Land seine inzwischen legendären Roadtrips , und auch im Studio arbeitet er mit nicht-professionellen, jungen Modellen. Es geht um das Lebensgefühl von Jugendlichen seiner Generation, die Spaß haben, sich treiben lassen, die ganz hedonistisch den Sommer genießen und nackt herumtollen. Dunkle Seiten bleiben ausgespart, sieht man von den Kratzern und Schürfwunden ab, die beim Springen von Felsen oder durch Baumwipfel kaum zu vermeiden sind. Das Whitney Museum of American Art zeigte McGinleys Photographien bereits 2003; er war damit der jüngste Künstler, der in diesem ehrwürdigen Haus jemals eine Einzelausstellung hatte. Seitdem ist er international gefragt und stellt weltweit in Galerien und Museen aus. In dieser ersten umfassenden Monographie setzen sich drei prominente Autoren mit dem Phänomen McGinley auseinander: die Schriftstellerin Chris Kraus, der Künstler und Autor John Kelsey und der Independent-Filmemacher Gus Van Sant, Regisseur u.a. von Drugstore Cowboy und My Private Idaho.

Capturing the hedonistic adventures of New York City downtown habituées, groups of twentysomethings in various American landscapes, or the human body in the pared-down atmosphere of his studio: Ryan McGinley understands and chronicles his own generation as no artist has before him. This first major monograph presents a survey of his career to the present day.

The ultimate intimacy. If orgasm is the little-death, is masturbation the little suicide?

The title means "the little death," a euphemism for orgasm, but the women who exuberantly masturbate for Toronto photographer Will Santillo in this book are as lively a bunch as you’ll ever meet. Santillo conceived the project eight years ago to include a thorough cross-section of women: young to old, slim to thick, perfect beauties to those not considered beautiful until seen through his lens. The one constant would be that each would decide and direct how she masturbated to climax while he captured the moment. From previous projects with amateur subjects, Santillo had come to believe that masturbation is a far more personal act than most sex play because it is conducted almost exclusively in private. He set out to reveal the diversity and creativity with which women approach self-stimulation, and to portray the beauty of ordinary women in the throes of orgasm - a beauty far richer than the male-oriented depictions seen in pornography. Santillo says he seeks to uncover the hidden face of his subjects, and indeed, it’s the faces that best show the intensity of response in these artfully explicit photos.

Dian Hanson interviewed 37 of the women, and their candid insights on overcoming inhibition, giving in to exhibitionism, and achieving orgasm in front of a stranger with a camera provide a framework for the lush, sepia-toned photos. For all who are curious about just what the woman next door - or one’s own wife - gets up to in her private moments, La petite Mort is a breath of life.

The photographer:

Will Santillo studied photography at M.I.T. under Minor White and has worked in the fields of fashion, corporate, architectural, and intimate photography. His photos appear in the Mammoth Book of Erotic Photography, TASCHEN’s New Erotic Photography, and in the monograph Flagrante Delicto. He lives in Toronto.

The editor and author:

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 Vanessa del Rio: Fifty Years of Slightly Slutty Behavior, Tom of Finland XXL, and The Big Butt Book. She lives in Los Angeles

This gorgeous gift book reveals nearly 50 years of photography by seasoned National Geographic photographer Bill Allard. Allard was a pioneer of color photography with a style that called for entering people's homes and hearts; by winning their confidence he was able to capture "off guard" moments, and reveal the depth of human nature as never before seen in the pages of National Geographic. Always in search of "what is happening at the edges," his work reveals beauty, mystery, and a sense of adventure. Part photography retrospective and part personal memoir, this book paints a full picture - through images and narrative - of the life of a globe-trekking photographer over the past half century. This gorgeous gift book reveals nearly 50 years of photography by seasoned National Geographic photographer Bill Allard. Allard was a pioneer of color photography with a style that called for entering people's homes and hearts; by winning their confidence he was able to capture "off guard" moments, and reveal the depth of human nature as never before seen in the pages of National Geographic. Always in search of "what is happening at the edges," his work reveals beauty, mystery, and a sense of adventure. Part photography retrospective and part personal memoir, this book paints a full picture - through images and narrative - of the life of a globe-trekking photographer over the past half century.