William Eggleston's Guide was the first one-man show of color photographs ever presented at The Museum of Modern Art, New York; it changed the world's perception of color photography forever, and its accompanying catalog is now considered one of the most important American photobooks ever published
Paperback, 6.5 x 9 in. / 112 pgs / 186 color. | 10/2/2002 | In stock $45.00
Published by Steidl. Edited by Joshua Chang. Foreword by John Szarkowski. Introduction by Robert Adams.
The open American West is nearly gone. A longstanding classic of photobook publishing, The New West is a photographic essay about what came to fill it—freeways, tract homes, low-rise business buildings and signs. In five sequences of pictures taken along the front wall of the Colorado Rocky Mountains, Robert Adams has documented a representative sampling of the whole suburban Southwest. The views have a double power. At first they shock; normally we try to forget the commercial squalor they depict. Slowly, however, they reveal aspects of the geography—the shape of the land itself, for example—that are beyond man's harm. Adams has written that "all land, no matter what has happened to it, has over it a grace, an absolutely persistent beauty," and the photographs show this. Originally published in 1974, The New West is now regarded as a classic, standing alongside Walker Evans' American Photographs and Robert Frank's The Americans in the pantheon of landmark volumes of photography exploring American culture and society. This beautiful new edition marks the iconic book's fortieth anniversary and includes new scans.
Robert Adams (born 1937) has photographed the geography of the American West for over 40 years. His work has been widely exhibited both in Europe and the United States, including in the seminal 1975 exhibition New Topographics: Photographs of a Man-Altered Landscape. He has over 40 publications and is a recipient of a MacArthur Fellowship, the Spectrum International Prize for Photography, the Hasselblad Award, two National Endowment for the Arts fellowships and the Deutsche Börse Photography Prize.
Published by The Museum of Modern Art, New York. Text by John Szarkowski.
Eugène Atget (1857–1927) devoted more than 30 years of his life to a rigorous documentation of Paris, its environs and the French countryside, through more than 8,000 photographs. In the process, he created an oeuvre that brilliantly delineates the richness, complexity and character of his native culture. Atget’s uncompromising eye recorded the picturesque villages and landscape of France; the storied chateaux and the romantic parks and gardens of the ancien régime of Louis XIV; and, in post-Haussmann Paris, architectural details, private courtyards, shop windows, curious buildings and streets, and the city’s various denizens. Atget died almost unknown in 1927, although groups of his prints were included in various Paris archives. In 1925 Berenice Abbott discovered his work, and after his death she arranged to buy his archives with the help of art dealer Julien Levy; in 1968 that collection was purchased by The Museum of Modern Art. Originally published in 2000 and long unavailable, this classic, superbly produced volume surveys the collection through 100 carefully selected photographs. John Szarkowski, head of MoMA’s Department of Photography from 1962 to 1991, explores the unique sensibilities that made Atget one of the greatest artists of the twentieth century and a vital influence on the development of modern and contemporary photography. An introductory text and commentaries on Atget’s photographs form an extended essay on the remarkable visual intelligence displayed in these subtle, sometimes enigmatic photographs.
Published by The Museum of Modern Art, New York. By John Szarkowski.
The Photographer's Eye by John Szarkowski is a twentieth-century classic--an indispensable introduction to the visual language of photography. Based on a landmark exhibition at The Museum of Modern Art in 1964, and originally published in 1966, the book has long been out of print. It is now available again to a new generation of photographers and lovers of photography in this duotone printing that closely follows the original. Szarkowski's compact text eloquently complements skillfully selected and sequenced groupings of 172 photographs drawn from the entire history and range of the medium. Celebrated works by such masters as Cartier-Bresson, Evans, Steichen, Strand, and Weston are juxtaposed with vernacular documents and even amateur snapshots to analyze the fundamental challenges and opportunities that all photographers have faced. Szarkowski, the legendary curator who worked at the Museum from 1962 to 1991, has published many influential books. But none more radically and succinctly demonstrates why--as U.S. News & World Report put it in 1990--"whether Americans know it or not," his thinking about photography "has become our thinking about photography."
Published by The Museum of Modern Art, New York. Afterword by John Szarkowski.
Lee Friedlander's surreal sensibility is on full display in this set of photographs, originally published in 1970. Here Friedlander focuses on the role of his own physical presence in his images. He writes: “At first, my presence in my photos was fascinating and disturbing. But as time passed and I was more a part of other ideas in my photos, I was able to add a giggle to those feelings.” Here readers can witness this progression as Friedlander appears in the form of his shadow, or reflected in windows and mirrors, and only occasionally fully visible through his own camera. In some photos he visibly struggles with the notion of self-portraiture, desultorily shooting himself in household mirrors and other reflective surfaces. Soon, though, he begins to toy with the pictures, almost teasingly inserting his shadow into them to amusing and provocative effect--elongated and trailing a group of women seen only from the knees down; cast and bent over a chair as if seated in it; mirroring the silhouette of someone walking down the street ahead of him; or falling on the desert ground, a large bush standing in for hair. These uncanny self-portraits evoke a surprisingly full landscape of the artist's life and mind. This reprint edition of Lee Friedlander: Self Portrait contains nearly 50 duotone images and an afterword by John Szarkowski, former Director of the Department of Photography at The Museum of Modern Art.
Published by LaSalle Bank, N.A.. Essay by Carol Ehlers. Foreword by Thomas C. Heagy.
Our journey through Chicago begins on an El train platform looking South on State Street in the Loop. From there we are guided through the streets of the Windy City. Through the eyes of 30 photographers, we see Chicago's inhabitants, ways of life, its past (as far back as 1930) and its present. Eventually we end our trip outside of the city's center, but not before we feel a genuine sense of intimacy and warmth within a place notorious for its chill. The images herein have been culled from LaSalle bank's more than 4,000 collected photos. It is divided into two sections: part one presents a sequence of powerful photographs taken in downtown Chicago, part two unfolds as an artistic testimony to the people who live in the city's historically diverse neighborhoods. Features 47 works by artists such as Walker Evans, Harry Callahan, Danny Lyon, Thomas Struth, Lee Friedlander, Robert Frank, Yasuhiro Ishimoto, Terry Evans, Hedrich Blessing Studio, Vera Lutter, and others.
PUBLISHER LaSalle Bank, N.A.
BOOK FORMAT Hardcover, 11.25 x 10.5 in. / 120 pgs / 8 color.
PUBLISHING STATUS Pub Date 6/15/2005 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2005 p. 78
PRODUCT DETAILS ISBN 9780970245236TRADE List Price: $65.00 CAD $75.00
Published by The Museum of Modern Art, New York. Essay by John Szarkowski.
Winogrand's zoo, even if true, is a grotesquery. It is a surreal Disneyland where unlikely human beings and jaded careerist animals stare at each other through bars, exhibiting bad manners and a mutual failure to recognize their own ludicrous predicaments. --John Szarkowski
The Animals is a classic photo book by the incessant, masterful photographer Garry Winogrand, reissued in a new edition by The Museum of Modern Art, New York, which first published the book in 1968. In it, Winogrand leaves the streets of the city for the caged aisles of the real urban jungle, the zoo, where he captures some of the more humiliating and strange moments in the lives of God's creatures. See a lion stick its tongue out between chain-link fencing, an orangutan pee into another's mouth, a hippo give a great big yawn, two lions lamely going at it, and seals watching lovers kiss.
Published by The Museum of Modern Art, New York. Photographs by Garry Winogrand. Text by John Szarkowski.
Back in Print! The first comprehensive overview of the work of Garry Winogrand, long out of print and difficult to come by, contains an eloquent and important essay on the life and work of the photographer by John Szarkowski and a lavish plate section presenting the photographs thematically. Grouped under the following titles-- Eisenhower Years, The Street, Women, The Zoo, On the Road, The Sixties, Etc, The Fort Worth Fat Stock Show and Rodeo, Airport and Unfinished Work-- many of the 179 plates are works that had never before been published. The last section includes 25 pictures chosen from the enormous body of work that Winogrand left unedited at the time of his death in 1984. In his essay, Szarkowski, who knew the photographer well during most of his career, describes the development of Winogrand's pictorial strategies during his years as a photojournalist, the increasing complexity of his motifs as he pursued more personal goals, and the challenge posed for other photographers by the powerful and distinctive authority of Winogrand's best work, “with its manic sense of a life balanced somewhere between animal high spirits and an apprehension of moral disaster.”
Published by The Museum of Modern Art, New York. Essay by John Szarkowski.
William Eggleston's Guide was the first one-man show of color photographs ever presented at The Museum of Modern Art, New York, and the Museum's first publication of color photography. The reception was divided and passionate. The book and show unabashedly forced the art world to deal with color photography, a medium scarcely taken seriously at the time, and with the vernacular content of a body of photographs that could have been but definitely weren't some average American's Instamatic pictures from the family album. These photographs heralded a new mastery of the use of color as an integral element of photographic composition. Bound in a textured cover inset with a photograph of a tricycle and stamped with yearbook-style gold lettering, the Guide contained 48 images edited down from 375 shot between 1969 and 1971 and displayed a deceptively casual, actually super-refined look at the surrounding world. Here are people, landscapes and odd little moments in and around Eggleston's hometown of Memphis--an anonymous woman in a loudly patterned dress and cat's eye glasses sitting, left leg slightly raised, on an equally loud outdoor sofa; a coal-fired barbecue shooting up flames, framed by a shiny silver tricycle, the curves of a gleaming black car fender, and someone's torso; a tiny, gray-haired lady in a faded, flowered housecoat, standing expectant, and dwarfed in the huge dark doorway of a mint-green room whose only visible furniture is a shaded lamp on an end table. For this edition of William Eggleston's Guide, The Museum of Modern Art has made new color separations from the original 35 mm slides, producing a facsimile edition in which the color will be freshly responsive to the photographer's intentions.
Published by The Museum of Modern Art, New York. Essay by John Szarkowski.
For more than a decade before World War I, Alfred Stieglitz lent much of his formidable energy to his public career as an editor, publisher, proselytizer, and art dealer. In the 1920s and 30s, he turned again to his own photography, exploring his personal world at Lake George, in the Adirondack mountains of New York, where he spent summers at a family farmhouse. He photographed the things around him--the landscape, the clouds overhead, the intimate life he led with family and friends, including Georgia O'Keefe, Waldo Frank, and Paul Rosenfeld. This body of work, radical and private, is the essential aspect of Stieglitz's achievement as a photographer, and has nowhere else been published as a coherent whole.
Photographs from The George Gund Foundation Collection
Published by The Cleveland Museum of Art. Essay by John Szarkowski. Foreword by Geoffry Gund.
Some of America's most renowned photographers are featured in this landmark project. Michael Book, Lois Conner, Judith Joy Ross, Dawoud Bey, Linda Butler, Lee Friedlander, Gregory Conniff, Frank Gohlke, Larry Fink, Douglas Lucak, Nicholas Nixon and Barbara Bosworth explore Cleveland from the Cuyahoga River to Lake Erie, through local neighborhoods, public schools, arts institutions and urban gardens. "Almost since its beginings, photography has attempted to describe cities. I am not aware, however, of any such attempt that has been as open-minded--so philosophically generous--as that pursued by the George Gund Foundation --John Szarkowski.
PUBLISHER The Cleveland Museum of Art
BOOK FORMAT Hardcover, 12 x 11.5 in. / 180 pgs.
PUBLISHING STATUS Pub Date 9/2/2002 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2002
PRODUCT DETAILS ISBN 9780940717688TRADE List Price: $40.00 CAD $50.00
Published by D.A.P./Fraenkel Gallery. Photographs by Lee Friedlander. Text by John Szarkowski.
Originally published in 1970, this understated gem of a book introduces Friedlander's self-conscious posture. The original edition has become a collector's item, and now D.A.P. brings it back into print as a Hardcover.
PUBLISHER D.A.P./Fraenkel Gallery
BOOK FORMAT Paperback, 10 x 9.5 in. / 96 pgs / 49 duotone
PUBLISHING STATUS Pub Date 5/2/1998 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 1998
PRODUCT DETAILS ISBN 9781881616962TRADE List Price: $35.00 CAD $40.00
Published by Aperture. Edited and with foreword by Peter C. Bunnell. Text by Ansel Adams, Harry Callahan, Andreas Feininger, Jonathan Green, Henry Holmes Smith, Dorothea Lange, Nathan Lyons, Barbara Morgan, Beaumont Newhall, Nancy Newhall, Aaron Siskind, Minor White, Frederick Sommer, John Szarkowski, et al.
Published on the occasion of its sixtieth anniversary, this is the first ever anthology of Aperture magazine. This long-awaited overview provides a selection of the best critical writing from the first 25 years of the magazine--the period spanning the tenure of cofounder and editor Minor White. Aperture was established in 1952 by a group of photographers, including Ansel Adams, Dorothea Lange, Barbara Morgan and historian-curators Beaumont and Nancy Newhall. Their intention was to provide a forum “in which photographers can talk straight to each other, discuss the problems that face photography as profession an art, share their experiences, comment on what goes on, descry the new potentials.” With its far-ranging interests in diverse photographic styles, myriad themes and subjects (including a strong streak of spirituality in diverse forms) and an adventurous commitment to a broad international range, Aperture has had a profound impact on the course of fine-art photography. The texts and visuals in this anthology were selected by Peter C. Bunnell, White’s protégé and an early member of the Aperture staff, who went on to become a major force in photography as an influential writer, curator and professor. Several articles are reproduced in facsimile, and the publication is enlivened throughout by other features, including a portfolio of exceptional covers, as well as a selection of the colophons (short statements or quotes) that appeared at the front of each magazine.
PUBLISHER Aperture
BOOK FORMAT Clth, 6.5 x 9 in. / 455 pgs / 150 color.
PUBLISHING STATUS Pub Date 10/31/2012 No longer our product
DISTRIBUTION Contact Publisher Catalog:
PRODUCT DETAILS ISBN 9781597111966TRADE List Price: $39.95 CAD $50.00
Published by The Museum of Modern Art, New York. By John Szarkowski.
Originally published in 1973, this marvelous collection of photographs with accompanying texts by the revered late Museum of Modern Art photography curator John Szarkowski has long been recognized as a classic. Reissued in 1999-with new digital duotones-this volume is now available to a new generation of readers.
"This is a picture book, and its first purpose is to provide the material for simple delectation," says Szarkowski in his introduction to this first survey of The Museum of Modern Art's photography collection. A visually splendid album, the book is both a treasury of remarkable photographs and a lively introduction to the aesthetics and the historical development of photography.
Since 1930, when the Museum accessioned its first photograph, it has assembled an extraordinary and wide-ranging collection of pictures for preservation, study and exhibition. Among the outstanding figures represented here are Hill and Adamson, Cameron, O'Sullivan, Atget, Stieglitz, Steichen, Strand, Weston, Kertész, Evans, Cartier-Bresson, Lange, Brassaï, Ansel Adams, Shomei Tomatsu, Frank, Arbus and Friedlander.
Some of these photographs are classics, familiar and well-loved favorites, many are surprising, little-known works by the masters of the art.
Published by Aperture. Foreword by John Szarkowski.
Originally published in 1974, Robert Adams' The New West signaled a paradigm shift in the photographic representation of American landscapes. Foregoing photography's traditional role of romanticizing the Western landscape, Adams focused instead on the construction of tract and mobile homes, subdivisions, shopping centers and urban sprawl in the suburbs of Colorado Springs and the Denver area. Adams transmuted these zones with his minimalist vision of their austerity; as he has noted, "no place is boring, if you've had a good night's sleep and have a pocket full of unexposed film." Objective and direct, Adams' photographs, rendered in his signature middle-gray scale, unsentimentally depict a despoiled landscape washed in the intense Colorado sunlight. Today The New West stands alongside Walker Evans' American Photographs, Robert Frank's The Americans and Stephen Shore's Uncommon Places in the pantheon of landmark projects on American culture and society. This second reissue of the classic publication has been recreated from Adams' original prints, and will be released ahead of a major traveling exhibition that will launch in 2010. Foreword by John Szarkowski.
PUBLISHER Aperture
BOOK FORMAT Hardback, 10 x 9 in. / 136 pgs / 56 duotone.
PUBLISHING STATUS Pub Date 5/1/2008 No longer our product
DISTRIBUTION Contact Publisher Catalog:
PRODUCT DETAILS ISBN 9781597110600TRADE List Price: $45.00 CAD $55.00
Atget
The Photographer's Eye
Lee Friedlander: Self Portrait
Chicago Photographs
Garry Winogrand: The Animals
Winogrand: Figments From The Real World
William Eggleston's Guide
Alfred Stieglitz At Lake George
Robert Adams: The New West
Lee Friedlander: Self Portrait
Aperture Magazine Anthology
Looking at Photographs: 100 Pictures from the Collection of The Museum of Modern Art
Robert Adams: The New West