David Goldblatt Photographs by Goldblatt, D.The long-awaited anthology of David Goldblatt's works, published on the occasion of the 2006 exhibition in Arles (with Martin Parr as curator), which afterward will tour internationally. David Goldblatt is South Africa's most important photographer. He has produced a body of work that is an original and extensive study of South Africa during and after apartheid. HisOn The Mines (1973), with a text by Nadine Gordimer,Some Afrikaners Photographed (1975), andLifetimes: Under Apartheid (1986), again with a text by Gordimer, document the complexity of South African lives, and are considered milestones in the history of photography. His following work on built structures, the human landscape that speaks of the forces shaping South African society from colonial times up to the end of white domination, led to the exhibition of his most somber works, 'Structures,' at The Museum of Modern Art, and to publication ofSouth Africa: the Structure of Things Then (1998). In 1999 he began working in color for the first time, manipulating colors and composing the images according to his nuanced view of things. This change in Goldblatt's narrative style is registered in his publication ofBelonging, on the new South African identity and urban areas, and more recently inIntersections (2005), on rural places and South African natural landscapes. Goldblatt's photographs are in the collections of The Museum of Modern Art, New York; The South African National Gallery, Cape Town; the Bibliotheque Nationale, Paris; and in The Victoria and Albert Museum, London. In 2006, Goldblatt won the Hasselblad Foundation International Award in Photography.
Call Number: 770.92 GOL
Publication Date: 2006
Street Photography Now by Howarth, S.; McLaren, S.For the last twenty years the candid photography of life in public has been mostly underground but secretly flourishing, stimulated by the wide availability of digital cameras, a profusion of photoblogs, and new self-publishing opportunities.Street Photography Now showcases the work of forty-six image-makers who are notable for their candid depictions of life on the streets and in the subway, in shopping malls and movie theaters, on beaches and in parks. Four thought-provoking essays put the work into the wider context of what has gone before, while quotes from the photographers expand and illuminate their work and draw attention to their influences and ways of working.Included are luminaries such as Magnum grandmasters Bruce Gilden, Martin Parr, and Alex Webb, as well as an international group of emerging photographers whose views of New York or Tokyo, Mumbai or Bournemouth, Istanbul or Dakar, all record moments in time that will never be repeated.
Albeit = Work by Killip, C.This book showcases Chris Killip's photography from 1969 to 2005, and is a retrospective of a photographer who has influenced an entire generation of younger documentary photographers. Arbeit / Work presents several of Killip's longterm projects, primarily in North England, which explore the working and living conditions of people through portraits as well as images of landscapes and architecture. This comprehensive publication includes Killip's early portraits for the first time in book form, as well as images made in Ireland and on the Isle of Man.
Call Number: 770.92 KIL
Publication Date: 2012
Magnum Contact Sheets by Lubben, K.Contact sheets unveil the story of what went into a photograph. Was it the outcome of what a photographer had in mind from the outset? Did it emerge from a diligently worked sequence? Was the right shot a matter of being in the right place at the right time? Here, for the first time, are the best contact sheets created by Magnum photographers. They reveal the creative methods, strategies, and editing processes used by some of the acknowledged greats of photography, from legends such as Henri Cartier-Bresson and Elliott Erwitt to Magnum’s latest generation, including Jonas Bendiksen, Trent Parke, and Alec Soth. Events, places, and people from over seventy years of history are contained in Magnum’s contact sheets, including the Normandy landings by Robert Capa, Che Guevara by Rene´ Burri, the Paris riots of 1968 by Bruno Barbey, Malcolm X by Eve Arnold, and New York street scenes by Bruce Gilden. With supporting texts by the photographers or by those selected by the estates of deceased Magnum members, and ancillary material such as press cards, notebooks, and filed captions, this landmark publication provides a depth of understanding and a critical analysis of the backstory to a photograph.
Photography's great success gives the impression that the major questions that have haunted the medium are now resolved. On the contrary,the most important questions about photography are just beginning to be asked. These fourteen essays, with over 200 illustrations, critically examine prevailing beliefs about the medium and suggest new ways to explain the history of photography. They are organized around the questions: What are the social consequences of aesthetic practice? How does photography construct sexual difference? How is photography used to promote class and national interests? What are the politics of photographic truth? The Contest of Meaning summarizes the challenges to traditional photographic history that have developed in the last decade out of a consciously political critique of photographic production. Contributions by a wide range of important Americans critics reexamine the complex -- and often contradictory -- roles of photography within society. Douglas Crimp, Christopher Phillips, Benjamin Buchloh, and Abigail Solomon Godeau examine the gradually developed exclusivity of art photography and describe the politics of canon formation throughout modernism. Catherine Lord, Deborah Bright, Sally Stein, and Jan Zita Grover examine the ways in which the female is configured as a subject, and explain how sexual difference is constructed across various registers of photographic representation. Carol Squiers, Esther Parada, and Richard Bolton clarify the ways in which photography serves as a form of mass communication, demonstrating in particular how photographic production is affected by the interests of the powerful patrons of communications. The three concluding essays, by Rosalind Krauss, Martha Rosler, and Allan Sekula, critically examine the concept of photographic truth by exploring the intentions informing various uses of "objective" images within society.