Bøger af David Campany

Pioneer of color photography: comprehensive overview with unreleased photo material

Haas' most cherished and personal project-originally conceived as an audiovisual slideshow-is recreated here in stunning color that will delight his numerous fans as well as anyone interested in Kodachrome photography. Three decades after its completion, Haas' most personal and least-known project is now available for the first time in this exquisitely produced book. Presented in a clean and spare design, this volume features reproductions of superb quality that allow readers to appreciate his mastery of color, light, and composition, and his ability to capture the mystery of daily life. For this collection Haas drew on images made in all phases of his career from 1952 to 1984, and, despite the title, most of these photographs are not abstract but rather clear, focused, well-exposed images of recognizable surfaces from the observable world around him: crumbling paint, graphic road markings, fabric, liquids, detritus, decay, and torn posters. David Campany's eloquent introductory essay lays the groundwork for a deep appreciation of the slideshow which, in book form, can be savored and understood in an entirely new way.

Tod Papageorge produced the photographs for Dr. Blankman¿s New York in 1966¿67, on the heels of moving into the city. Photographer friends persuaded him that he could help pay the rent by landing some magazine assignments, and that a carousel tray of slides would be the best way of convincing art directors to take a chance on him. So, often after spending a day in the streets photographing in black-and-white, he would put a roll of Kodachrome film in his camera on his walk home and make color pictures, in many cases of shop windows, a subject he was convinced might help him earn a bit of commercial work.This re-issue of Dr. Blankman¿s New York, first published by Steidl in 2017, has enlarged the size of the plates and, with one exception, condensed the original design to a series of double spreads, intensifying the sense that what Papageorge was doing in these photographs was elaborating, on a parallel track, the portrayal of Manhattan presented in the black-and-white work of ¿Down to the City,¿ the first volume of his War and Peace in New York (also published by Steidl this season). For even their saturated colors and outwardly unremarkable subjects fail to dispel the impression that, rather than winning a magazine job, the shadow of the long war in Vietnam and the hysteria it sparked were the impulses actually charging the photographer¿s eye and deepest feelings.

Offers an overview of photography, placing it in the context of the social and cultural developments that have taken place globally since its arrival. This title traces the rapid evolution of photographic style, period by period and movement by movement.

A personally guided introduction to photographic images and what they mean by one of the leading writers and curators of our time

British conceptual artist John Stezaker (b. 1949) is known for his distinctive, often deceptively simple, collages. Using antique travel postcards, famous movie starlet headshots from the 1940s, and old movie stills, Stezaker creates a world full of mystery and humor in each artwork. Critic David Campany described Stezaker as drawn to that very sli

With an interview with the artist, this richly illustrated volume catalogues British Conceptual artist John Stezaker's ongoing series of film still collages, first begun in 1979 and for which he is widely recognised.

The photographs of Sarah Jones address established pictorial genres and our associated expectations by paring back space, subject and gesture. This book--the first major monograph on this young British artist--brings together work from an 18-year period, including many photographs never previously published, and looks at the themes and concerns that have remained constants in her work. The sequence of images chosen and arranged by the artist specifically for this publication is informed by Jones' interest in how we see and represent her chosen subjects, using tropes from the stereograph, the double, the still life and portraiture. Jones first gained notice in the late 1990s for her photographs taken in psychoanalysts' consulting rooms. These provocative sites have been explored through her practice over the years, in particular the couches that, in Jones's images, show visible signs of the imprint of the patients who had reclined upon them during consultation. Her well-known later studies of adolescent girls uncomfortably caught in the flash of the camera in domestic settings draw attention to the staged relationship between model, photographer and location. Recent diptychs of horses and rose bushes refer to the viewing of early stereographic prints and explore the potential for photography to reveal uncanny perspectives on a subject. In The Rose Gardens series, Jones photographs the front and back of rose bushes in public gardens so that viewers can contemplate both viewpoints simultaneously. Jones' overarching imperative is to look at subjects stripped back to an emotional truth. The imprints on the couches, the view of the roses that are beginning to wilt and the glazed look in the eyes of her models all investigate ideas of beauty and ritualized everyday gesture.

China Between is a photographic exploration of the modern city culture of contemporary China.When the Peoples¿ Republic set up its Special Economic Zones in the 1980s communist China entered intoglobal trade and international capital. The goal was financial but new money also brought new values and newways of life. Polly Braden¿s photography is an intimate response to the material and psychological effects of thechanges experienced by the country¿s new urban class. Shot over three years in Shanghai, Xiamen, Shenzhen andKunming, China Between is a revelatory portrait. No longer will images of epic scenes dominate our viewof this country. Braden shows how a casual glance, a moment of doubt or a quick trip to the shopping mallcan tell us as much about modern China as any image of a dam, a protest or a teeming workforce.¿ anthropological documents and a personal travelogue; a series of intimate portraits and,more generally, studies of a country undergoing a massive transition from a predominantly agrarianto an urban culture. ¿ Jennifer Higgie, editor of Frieze magazineA winner of the Jerwood Photography Prize (2003) and The Guardian Newspaper Young Photographer of theYear (2002), Polly Braden has exhibited at venues internationally including the Institute of Contemporary Arts(London) and the Museum of Contemporary Photography, Chicago (USA). In recent years she has producedextended photo-essays in the UK, the Middle East, Morocco, Kenya and China and her photography has appearedin The Guardian, The Saturday Telegraph magazine, Ei8ht magazine, Portfolio, ICON, Photoworks, Frieze, TheSydney Morning Herald and D Magazine (Italy). Now based in London, Polly has lived in China and photographedthe country over the last decade.The book is accompanied by texts by David Campany, Reader in Photography at the University of Westminster,London and by Jennifer Higgie, editor of Frieze magazine.

Photographs by John Divola.