Sanctuary by Scott, A.O.While visiting Rome, world-renowned photographer Gregory Crewdson was invited to tour the legendary film studio Cinecittà, where directors such as Federico Fellini and Roberto Rossellini shot their iconic works. He found the elaborate film sets fallen into ruin and, captivated by their beauty, chose them as the subject of his next body of work. Although his earlier series were characterized by large production crews, custom-built soundstages, and hired actors, Crewdson returned to Rome with only a small team to create the haunting black-and-white portraits of deteriorating buildings and deserted streets that are flawlessly reproduced in this book. Admirers of Crewdson’s work will find these new photographs are a bold departure, which yet convey the dramatic subtext and charged emotions that characterize his earlier works.
The Dusseldorf School of Photography by Gronert, S. (Editor)The German photographic movement commonly known as the Dusseldorf School of Photography has become synonymous with artistic excellence and innovation. It began in the mid-1970s at the Kunstakademie Dusseldorf, under the instruction of the photographers Bernd and Hilla Becher, known for their comparative grids of mundane industrial buildings captured with an objective and clinical eye. This school has not only birthed some of today's most important and successful photographers, but has also had a fundamental and lasting influence on the history of the medium. "The Dusseldorf School of Photography" presents over 160 images in a spectacular overview of the breadth of the Dusseldorf School from the early 1970s to today. This impeccable survey is filled with superb reproductions of the best-known photographs by three generations of key Dusseldorf artists: Bernd and Hilla Becher, Laurenz Berges, Elger Esser, Andreas Gursky, Candida Hofer, Axel Hutte, Simone Nieweg, Thomas Ruff, Jorg Sasse, Thomas Struth and Petra Wunderlich. With a scholarly text, extensive artist bios and a plate section dedicated to each of these artists, "The Dusseldorf School of Photography" offers the first comprehensive assessment of this important photographic movement--one that dominates the salesrooms and museums of our times.
New Topographics by Nordström, A.; Salvesen, B."The New Topographics: Photographs of a Man-Altered Landscape" was one of those rare exhibitions that permanently alters how an art form is perceived. Held at the International Museum of Photography in Rochester, New York, in January 1975, it was curated by William Jenkins, who brought together ten contemporary photographers: Robert Adams, Lewis Baltz, Bernd and Hilla Becher, Joe Deal, Frank Gohlke, Nicholas Nixon, John Schott, Stephen Shore and Henry Wessel, Jr. Signaling the emergence of a new approach to landscape, the show effectively gave a name to a movement or style, although even today, the term "New Topographics"--more a conceptual gist than a precise adjective--is used to characterize the work of artists not yet born when the exhibition was held. Although the exhibit's ambitions were hardly so grand, New Topographics has since come to be understood as marking a paradigm shift, for the show occurred just as photography ceased to be an isolated, self-defined practice and took its place within the contemporary art world. Arguably the last traditionally photographic style, New Topographics was also the first Photoconceptual style. In different ways, the artists thoughtfully engaged with their medium and its history, while simultaneously absorbing such issues as environmentalism, capitalism and national identity. In this vital reassessment of the genre, essays by Britt Salvesen and Alison Nordstrom accompany illustrations of selected works from the 1975 exhibition, with installation views and contextual comparisons, to demonstrate both the historical significance of New Topographics and its continued relevance today. The book also includes an illustrated checklist of the 1975 exhibition and an extensive bibliography.