Published by Hatje Cantz. Text by Johann Wolfgang von Goethe.
In the seventeenth and eighteenth centuries, an extended trip to Italy--“the land where the lemon trees blossom, the golden oranges glowing amid dark foliage,” as Goethe famously described it--was considered an indispensable part of a young gentleman’s education. On arduous coach journeys, these adventurous youths would travel to Florence, Venice, Rome and Naples, taking in the antiquities, the architecture and the landscape, receiving en route a practical education in Roman civilization. Johann Wolfgang von Goethe made his own odyssey south between 1786 and 1788. His Italian Journey vividly conveys the profound enthusiasm he experienced, but also captures insightful details of the well-organized, nascent Italian tourist industry. This large (13 by 19 inches), impressive volume features an array of Italian photographs from the nineteenth century, which depict the highlights of the Grand Tour in gelatin silver prints (some of which are gorgeously hand-colored). These historic images are interspersed with quotes from Goethe’s Italian Journey, and include poetical views of the wonders of Piazza San Marco, the Coliseum, a smoking Vesuvius and the fisherwomen of Capri.
Published by Damiani. Introduction by Joel Smith. Text by Orlando Luis Pardo Lazo.
American photographer Andrew Moore began photographing in Cuba in 1998, and over the next fourteen years he made ten further visits, working to reveal the many facets of the island’s unique character and life. In 2002, he published some of this work in Inside Havana, which is now out of print. This new edition includes many of Moore’s older classic images but reconceives its predecessor with a new layout and finer, larger reproductions. Cuba also features many older photographs never previously published, as well as new photographs made specifically for this edition. The afterword was especially commissioned for this edition from Orlando Luis Pardo Lazo, one of Cuba’s leading independent bloggers. Working with a large format camera, Moore insightfully records the shifting fortunes of Cuba, in superb photographs full of painterly light and dynamic color. His images span a tremendous variety of subjects, ranging from humble interiors to magnificent modernism, as well as portraits and landscapes. One theme introduced in this revised version is the contrast between the frayed patinas of Cuban homes and the great, unspoiled beauty of the island’s nature. Cuba is a stirring portrait of a country isolated from the globalized world, overflowing with its own remarkable riches. The photographs of Andrew Moore (born 1957) are represented in the collections of the Metropolitan Museum of Art, the Whitney Museum, Yale University Art Gallery, The Museum of Fine Arts Houston, the Library of Congress, the Israel Museum, the George Eastman House and the Canadian Centre for Architecture.
Published by Hatje Cantz. Foreword by Lucien Clergue, Paul Andrew. Text by Eva-Monika Turck.
Lucien Clergue first won fame for his photographs of nudes, whose sensual use of light and water playing upon torsos enthralled Pablo Picasso and Jean Cocteau, his lifelong mentors. Today he is closely identified with Arles and its environs in the south of France, which he has portrayed for more than a half-century in numerous images of traveling artists, gypsies, war ruins and graves, plants in the swamps of the Camargue, tracks in the sand and bullfighting scenes. Brasília is the first presentation of Clergue’s marvelous photographs of Brazil’s capital, taken in 1962–63, just a few years after the city was built--a body of work until recently believed to be lost. Brasilia was developed in 1956, with Lúcio Costa as the principal urban planner, Oscar Niemeyer as the principal architect and Roberto Burle Marx as the landscape designer. Clergue’s (mostly unpeopled) portrayals of the metropolis highlight the powerful, upward-sweeping curves of Niemeyer's architecture, while often leaving plenty of space to articulate the cool beauty of its emphatically modernist ambitions. Brasíliais a breathtaking celebration of the sublimity of a confident, optimistic architecture, and a crucial rediscovery in the history of architectural photography. The first photographer to be elected to the Académie des Beaux-Arts in France, Lucien Clergue (born 1934) has published more than 75 books and directed numerous films. His photographs are in the collections of numerous well-known museums and have been exhibited in more than 100 solo exhibitions worldwide, including at The Museum of Modern Art in New York (1961, the last exhibition organized by Edward Steichen). Museums with extensive inventory of photographs by Lucien Clergue include The Fogg Museum at Harvard University and the Museum of Fine Arts in Boston.
While travelling overland to India from Europe in the fall of 1971, Luke Powell ran into the war between India and Pakistan, and he spent the following winter in neighboring Afghanistan. Powell was stunned by the beauty of the country, the state of preservation of the culture, and by the Afghans' ability to be totally self-sustaining. He returned nearly every year until 1978, when he left the country three days before a Communist coup. Powell's ability to transform raw 35 mm film into refined printed images grew over a 15-year period, when he printed his work with the legendary Dye Transfer Process. The Afghan Folio exhibition travelled to over 120 museums and galleries in North America and Europe, during the years when the Russians were occupying Kabul. In early 2000 the Taliban government invited Luke Powell to come back to Afghanistan, and later that year the Northern Alliance allowed him to travel alone in areas under their control. Through 2003 Powell took photographs for the United Nations Demining Program for Afghanistan and other UN agencies. In Afghan Gold Luke Powell has tried to separate art from journalism and show only the beautiful, traditional side of Afghanistan. In the text, published in a separate volume, Powell acts as a spokesman for an essentially peace-loving people who have been at war for the last three decades, placing the images in an unusually broad historical context.
Published by Steidl. Text by Wolfgang Ullrich, Martin Hochleitner.
For 20 years Austrian photographer Lois Hechenblaikner (born 1958) has been photographing the fans at Austrian folk music festivals. On his travels he has visited more than 100 festivals, open-air concerts and fan gatherings. Hechenblaikner’s particular passion is for the people who undertake long journeys barring no expense, just to get that little bit closer to their idols. It’s a phenomenon which sociologist Gerhard Schulze describes as “Harmoniemilieu,” where the desire for a perfect world becomes one’s sole and strongest driving force.
In Volksmusik Hechenblaikner explores the possibilities of large-format photography to create a typology of the public at folk-music festivals. With careful precision he documents the facial expressions, gestures and clothing of his various protagonists, revealing their psychologies and life stories.
Published by FUEL Publishing. Edited by Damon Murray, Stephen Sorrell. Foreword by Jonathan Meades. Text by Vera Kavalkova-Halvarsson, Christopher Herwig.
Soviet vernacular architecture across 18,000 miles in 14 countries
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