Photographers Mark Arbeit, George Holz and Just Loomis met Helmut Newton in the late 1970s when they were his students and studio assistants at the prestigious Art Center College of Design in Pasadena, California. Over the years, as each of their careers evolved, the boys from Pasadena kept in touch with their mentor, sharing their photography with both him and his wife June. After Newton´s death in 2004, June conceived the idea to host an exhibition with Arbeit, Holz and Loomis at the Helmut Newton Foundation, which was mounted in 2009. Through a collection of photographs, letters and memorabilia, ´´Three Boys from Pasadena´´ celebrates three decades of a unique mentorship and friendship, intertwining the boys and their relationship and history with Newton together with their own photography. It features writings by June Newton, Karl Johnson and Dr. Matthias Harder.
´´When I was born, I came home to my grandfather´s house. His name was Morris Cohen. He was my mother´s father. I lived with him for three years until my parents built a small little house and we moved away. But from the time I was born until he died when I was 19, I either spoke to him or saw him every day. He owned a hardware store that catered to plumbers, electricians, woodworkers, contractors. It was an early version of a contractors´ supply store. It was called ´The Save Supply Company.´ He was a very large man, and he felt he could do anything with his hands. He made tables, he fixed automobiles, he was an electrician, and he was lousy at all of it. But through sheer force of will, he forged ahead.´´ Jim Dine
In the summer of 2013 photographer Catherine Balet and her friend, the stylist Ricardo Martinez Paz, were at the Arles Photography Festival in the South of France. Balet had often been amused by Ricardo´s resemblance to Picasso and had always intended to recreate Robert Doisneau´s famous image of the painter with loaves for fingers. The publication of these initial images on their Facebook pages aroused such enthusiasm that it prompted them to develop the work. Now three years later the series extends to over 120 images spanning the whole history of photography.
The idea for a book on the East End formed sometime in the 1980s. The London Docks had already closed down or were starting to. I chose to shoot mainly in the districts of Silvertown and Canning Town. I have over the years spent many weekends shooting whatever took my fancy. The other two times I had bursts of photographic energy in the East End were in the 1960s and from about 2004 to 2010. These were my three key periods to draw pictures from, instead of just trolling through the last fifty years of archives. In the late 1940s and early 1950s I heard a quote on the radio, Go west, young man. At the time I didn t give it much thought. Later I assumed it was from America and that it went back to the middle of the nineteenth century, when America s west coast was opening up to great wealth and opportunities. The cockneys should have listened, but they didn t. They went east like their ancestors before them. The ones that moved east out of Old Nichol went to Whitechapel, then on to Stepney and Bow, then to what is now called Newham and later to Barking, Dagenham and onto Essex. My mother was from Bow, my father it seems was from Hackney, my grandfather from Bethnal Green. Before him they all were from Whitechapel as far as records show. David Bailey
One of the foremost American photographers of the twentieth century, Harry Callahan explored the expressive possibilities of both color and black-and-white photography from the outset of his career in 1938. Following his retirement from teaching at the Rhode Island School of Design in 1977, however, he decided to dedicate his practice exclusively to the color medium and pursue travel to foreign locales. The twenty-three photographs in this publication, taken in Morocco in 1981, are the product of Callahan´s shift to a strictly chromatic palette and demonstrate his continued interest in the visual intrigue of the everyday urban landscape and the passersby who occupy it. Depicting his familiar subjects of architectural facades, random patterns of street activity, and isolated fi gures lost in thought, the images transcend Morocco´s exoticism by exploring the formal and pictorial potential of the country´s environment.
The village of Kolodozero, deeply concealed in the woods of Pudozh, is located on the border between Arkhangelsk Oblast and Karelia in Russia. In ancient times, people settled on the northern flanks of the local bodies of water - rivers and lakes. Kolodozero therefore consists of a handful of small hamlets - Lakhta, Isakovo, Ust´-Reka, Pogost, Zaozerye, and Dubovo. Houses are scattered along the picturesque lake´s shores and capes. Fifteen years ago, these places enchanted three friends from Moscow who were strolling around the north and searching for the meaning of life, and most likely, themselves as well. In 2001, they jointly gathered resources and started building a new church to replace the old one that was burned down back in 1977. One of the friends, the redhead rebel and punk Arkady Shlykov, who graduated from the Moscow Spiritual Seminary, accepted the ordination in 2005. Some 40 years later, therefore, parochial life was born anew in the village. The stern locals at first cast much suspicion onto the shaggy-haired, rockstar-resembling priest, but later on came to love him wholeheartedly. They accepted his freedom, both external and internal, and appreciated his character - peace-loving and gentle. This is a story about the people of the Russian North, about what keeps them together, about the spirit and soul, about their passions and emotions.
The short-lived Japanese magazine Provoke is recognized as a major achievement in world photography of the postwar era, uniting the country´s most contentious examples of protest photography, vanguard fine art, and critical theory of the late 1960s and early 70s in only three issues overall. Provoke is accordingly treated here as a model synthesis of the complexities and overlapping uses of photography in postwar Japan. The writing and images by Provoke´s members - critic Koji Taki, poet Takahiko Okada, photographers Takuma Nakahira, Yutaka Takanashi, Daido Moriyama - were suffused with the tactics developed in some Japanese protest books which made use of innovative graphic design and provocatively ´´poor´´ materials. Recording live actions, photography in these years was also an expressive form suited to emphasize and critique the mythologies of modern life with a wide spectrum of performing artists such as Nobuyoshi Araki, Koji Enokura and Jiro Takamatsu. This catalogue accompanies the first exhibition ever to be held about the magazine and its creators and focuses on its historical context. It covers the preliminary period leading to its first and the aftermath following its last issue. Provoke takes shape as a strongly interpretative explanation of currents in Japanese art and society at a moment of historical collapse and renewal.
This publication tells the story of photography via history of the photobook, revealing the ways in which photographers have influenced each other´s work through their books, and consequently how their use of photography has developed over time. It features volumes by celebrated photographers ranging from William Henry Fox Talbot, Walker Evans and August Sander to Larry Clark and Nobuyoshi Araki, by way of Man Ray, Brassai and Christer Strömholm. Several innovative books by unknown and even anonymous photographers have also been included, offering an opportunity for readers to discover these exciting, overlooked works. This volume explores more than 200 photobooks through 750 colour illustrations, detailed captions, and an illuminating text written by the photographer and critic, Gerry Badger. The books featured were selected by both Badger and the renowned contemporary photographer Martin Parr, whose passion for the photobook has made him a worl authority on the subject. They have chosen what they believe to be the most artistically and culturally important photobooks in the history of the medium. The illustrations not only focus on individual works featured in the books, but also present the volume itself as three-dimensional object, providing a true sense of the photobook as an artwork in its own right.
Twilight: in that zone between the certainty of day and fear of the dark, Gregory Crewdson sets his eerie, enigmatic photographs. A woman floats in her flooded living room, a cow appears to have fallen from the sky onto a front lawn, a gang of teenagers, seemingly hypnotized, pile up household objects for a bonfire. Created as elaborately staged tableaux, this series of images suggests the bizarre yet beautiful surrealities behind deceptively familiar suburban facades. Scheduled to accompany three simultaneous gallery exhibitions in Spring 2002 and a subsequent retrospective at Mass MoCA, this book chronicles the completion of the Twilight series, which Crewdson began in 1998. Including both production stills and the 40 finished images, all in full color, it also features an essay by Rick Moody, a novelist equally renowned for exposing the underbelly of small-town, middle-class America.
One day in the early 1970s, Robert Adams and his wife saw from their home a column of smoke rise above the Rocky Flats Nuclear Weapons Plant, near Denver, Colorado. For an hour they watched the plume grow, tried without success to learn whether the fire involved the radioactive and extremely toxic plutonium, and experienced a sense of helplessness before what appeared to be a nuclear accident in progress. Ultimately it was announced that the fire was burning safely outside the plant, but as a result of their hour of uncertainty Adams decided to try to picture what of worth - absolute worth - stood to be lost in a nuclear catastrophe. Adams photographed ´´Our Lives and Our Children´´ in Denver and its suburbs; the individuals shown were within hazardous proximity of the Rocky Flats Plant. Their peril is representative, however, of a wider threat to all of us from nuclear weapons, one that continues in different forms to this day. The new Steidl edition of ´´Our Lives and Our Children´´ presents an expanded sequence of pictures that retains the potent compactness of the sought-after first edition (out of print for nearly three decades), while faithfully expressing the full-bodied tonalities of Adams´s original prints.