Results 1-15 of 15
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- Walker Evans: Lyric Documentary
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Walker Evans’ work was spread over forty-six fitful and prolific years, yet in a scant two years, 1935-1936, he produced a singular body of work that defined his career. In the process he refined a hybrid style which combined documentation with sly personal comment. During that brief time he worked for the Farm Security Administration (previously the U.S. Resettlement Administration) photographing the consequences of the Great Depression. He delighted in being the artist traveling incognito as an artless photojournalist, but with the independence to satisfy his own designs.
This volume presents those seminal images for the first time as a comprehensive body and in chronological order. These are prime examples of Evans’ alchemy — his seemingly effortless transformation of mundane fact into sweeping lyricism. This series not only defines his mature style but also offers a path for artists of future generations. Evans has been called the most important American artist of his century. The impact of his vision reaches well beyond the province of photography.
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- Walker Evans and the Picture Postcard
- Walker Evans and the Picture Postcard focuses on a collection of 9,000 picture postcards amassed by the American photographer Walker Evans (1903-1975) that are now part of Walker Evans Archive at The Metropolitan Museum of Art. The postcard came of age after 1907 when American postal deregulations allowed correspondence to be written on the address side of the card. By 1914, the craze for picture postcards had become a boon to local photographers as their black- and-white photographs of small-town main streets, local hotels, and new public buildings were transformed into millions of handsomely colored photolithographic postcards
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- Documentary and Anti-Graphic Photographs
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The importance of Manuel Alvarez Bravo, Henri Cartier-Bresson and Walker Evans appears so clear today, so indisputable, that one hesitates to draw attention to it for fear of stating the obvious. Yet in 1935, when the New Yorker Julien Levy, one of the most influential collectors of the 20th century, conceived the exhibition Documentary and Anti-Graphic Photographs by Cartier-Bresson, Walker Evans & Alvarez Bravo, no one could imagine the eminent place the trio would occupy in the avant-garde of their time, nor the immense influence the photographers would have on future generations.
Gathered together here again for the first time since 1935, these period prints represent an exceptional set of essential and sometimes unknown images. This selection of early works of three masters of photography places us face to face with the history of the medium in the making.
The show in New York in 1935 was one of the first exhibitions Henri Cartier-Bresson ever had. This book is the last project he considered before leaving us — the wheel has come full circle.
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- Heads
- Following his Hustlers and Streetwork series, Philip-Lorca diCorcia's Heads is his most recent body of work. Taken in New York City, each image advances the traditions of street photography and candid portraiture developed by Paul Strand, Walker Evans, Harry Callahan, and Robert Frank.
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- New York to Nova Scotia
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New York to Nova Scotia was originally published in 1986 to accompany a retrospective exhibition of the same name organized by the Museum of Fine Arts, Houston, and has long been out of print. The chronology and personal spirit of Frank’s complex career as a photographer and filmmaker are evoked with previously unpublished letters, pictures, reviews and essays as well as 18 photographs by Frank. Some of the letters are by Frank; others were written by photographers and contemporaries, such as W. Eugene Smith, Louis Faurer, Keith Smith, and Gotthard Schuh, and by legendary curators Hugh Edwards and Robert Delpire.
Authors of the essays include Walker Evans, Jack Kerouac, Jonas Mekas, Allen Ginsberg and Robert Coles, as well as the exhibition curators, Philip Brookman and Anne W. Tucker. Other entries include Frank’s proposal to the Guggenheim Foundation in 1954 that started his legendary journey across America, a letter from an Arkansas State policeman who arrested Frank during his trip to produce the photographs in The Americans, still images from Frank’s films, and pictures of Frank throughout his career.
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- 50 Jahre/Years Documenta 1955–2005
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In 1955 the first Documenta was held alongside the National Garden Festival. No one imagined back then that the exhibition would develop into the world’s most important forum for contemporary art. Although the name “Documenta” stands for an all-encompassing vision, each of the 11 exhibitions to date has been unique, with its own aims and atmosphere. The history of Documenta reflects the last half century’s diverse artistic and curatorial approaches, philosophies and forms of presentation, as well as a broad array of political and social currents.
This two-volume publication looks into that history and the phenomenon of Documenta in several ways. Book 1 contains a richly illustrated review of 50 years of art in Kassel and the artworks that made history. In addition to essays on different aspects of Documenta and all previous exhibitions, young artists deal in their own ways with the abundance of material from the Documenta archives.
Book 2 is devoted to well-known and less well-known works from 50 years of Documenta. These are works of art that were unfairly overlooked or were inappropriate for museum-like presentation or were simply ahead of their time. Quiet, poetic, anarchic art — whatever was lost in the turbulence of cultural activities is seen here anew. The book contains about 200 works by 75 artists, including Eija-Liisa Ahtila, Joseph Beuys, Christian Boltanski, Marcel Broodthaers, Robert Capa, Stan Douglas, Walker Evans, Fischli & Weiss, Leon Golub, Ulrike Grossarth, Richard Hamilton, Eva Hesse, Wilhelm Lehmbruck, Paula Modersohn-Becker, Bruce Nauman, Nam June Paik, Gerhard Richter, Paul Thek, Andy Warhol and Wols.
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- Modernist Photography: The Daniel Cowin Collection at ICP
- Modernist Photography reexamines the classic period of twentieth-century photography using new critical approaches to consider five recurrent visual themes during the years 1915 to 1945. These themes cut across such stylistic movements as Pictorialism, Surrealism, and the New Vision, and include the transformation of objects, experimental images of the body, visions of the city, the industrialization of the countryside, and experimental directions in poster design and typography. This thematic approach fosters new perspectives on such key photographers as Bernice Abbott, Brassaï, Walker Evans, Raoul Hausmann. Dorothea Lange, Gordon Parks, and Man Ray and emphasizes the interactions between European and American practitioners. The catalogue will include chapters on each of the five themes by ICP curators Christopher Phillips and Vanessa Rocco. It is based on a selection of seventy works from the Daniel Cowin Collection, a recent donation to the International Center of Photography.
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- The Village with the Blue House - Images of the Children of Grace Monograph
- Sune Jonsson is one of Sweden’s most prominent documentary photographers whose work has been compared to both Walker Evans and August Sander. For more than half a century he has, with the help of his camera and pen, come close to people and environments throughout Sweden. Jonsson’s work has encompassed different societies in transition, as well as the wonders of everyday life and the uniqueness of every individual’s history, always with great skill, emotion, empathy and respect for his subject’s integrity. His home district, Västerbotten, has often been the motif for his work, but over the years he has also worked in New York, Congo, Prague, Bornholm, and Attsjö in Småland. Jonsson’s debut book “Byn med det blå huset” was published in 1959 and since then he has published more than twenty important picture books, as well as short stories, novels and documentary films.
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- Photographier l’Amérique - French edition
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Sans le challenge de l’œuvre de Walker Evans, je ne crois pas que je serais resté photographe.
Henri Cartier-Bresson, 2001
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- Looking In: Robert Frank’s The Americans – Expanded Edition
- First published in France in 1958, then in the United States in 1959, Robert Frank’s The Americans changed the course of twentieth-century photography. In eighty-three photographs, Frank looked beneath the surface of American life to reveal a people plagued by racism, ill-served by their politicians, and rendered numb by a rapidly expanding culture of consumption. Yet he also found novel areas of beauty in simple, overlooked corners of American life. And it was not just his subject matter - cars, jukeboxes, and even the road itself - that redefined the icons of America; it was also his seemingly intuitive, immediate, off-kilter style, as well as his method of brilliantly linking his photographs together thematically, conceptually, formally, and linguistically, that made The Americans so innovative. More of an ode or a poem than a literal document, the book is as powerful and provocative today as it was fifty years ago.
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- Emmet Gowin Photographs
- “… in 1964, I entered into a family freshly different from my own. I admired their simplicity and generosity, and thought of the pictures I made as agreements. I wanted to pay attention to the body and personality that had agreed out of love to reveal itself.”
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- Looking In: Robert Frank’s The Americans - Softcover Edition
- This richly illustrated softcover edition of Looking In: Robert Frank’s “The Americans” contains several engaging essays by curator Sarah Greenough that explore the roots of this seminal book, Frank’s travels on a Guggenheim fellowship, the sequencing of The Americans, and the book’s impact on his later career. In addition, essays by Anne Wilkes Tucker, Stuart Alexander, Martin Gasser, Jeff L. Rosenheim, Michel Frizot, and Luc Sante offer focused analyses of Frank’s relationship with Louis Faurer, Edward Steichen, Gotthard Schuh, Walker Evans, Robert Delpire, and Jack Kerouac, while Philip Brookman writes about his work with Frank on several exhibitions in the last thirty years. This softcover edition also reproduces many of Frank’s earlier photographic sequences, as well as all of the photographs in The Americans, and selected later works.
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- In the Street
- This book presents a selection of street portraits taken in New York City since the early 1970s by Jerry Thompson. Beginning in Coney Island in 1972 and ending in Times Square in 2006, the book encompasses three and a half decades of Thompson’s encounters with people on the streets of New York. Thompson has combined the photographs with quotations, each pertaining to the subject, from sources as diverse as Shakespeare and Stendhal, Aristotle and Heidegger, Walker Evans and Lincoln Kirstein. They suggest a conversation intended to concentrate the viewer’s attention, stimulate her thinking, and expand his curiosity about what it is that pictures – and the act of looking at pictures – might be capable of accomplishing.
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- Hunt and Gather
- “Stephen Waddell is one of those patient spirits whose art is devoted to depiction, to the contemplation of sight itself. This is neither the oldest nor the original form of art, nor possibly the most significant these days, but it may be the most stable, consistent, and richest in possibility. Its models are Velázquez, Cézanne, Manet, Atget, and Walker Evans. Waddell’s photographs are usually taken surreptitiously in public places.… He concentrates on notation and suggestion, a delicate and circumspect observation of people in their labor, leisure, and their solitude. He almost never alters anything with a computer.
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- Signs of Life
- Peter Sekaer (1901-50) emerged as an artist in the company of Ben Shahn, Berenice Abbott, and Walker Evans. This book intends to show how he stepped from their benign shadows to build his own distinctive style. It is the first monograph to show the full range of his accomplishments. Sekaer’s early work combines dispassionate images with others that show his concern and intuitive grasp of the human condition. Many of his most memorable photographs were made while fulfilling mundane assignments for various government agencies. Sekaer had none of the reformer’s passion found in the works of Jacob Riis or Lewis Hine. His stance was more that of the artist/anthropologist, who delighted in recording the artifacts and gestures that defined American society in the 1930s.