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From the 2015 winner of the Nobel Prize in Literature comes the first English translation of her latest work, an oral history of the disintegration of the Soviet Union and the emergence of a new Russia. Bringing together dozens of voices in her distinctive documentary style, Second-Hand Time is a monument to the collapse of the USSR, charting the decline of Soviet culture and speculating on what will rise from the ashes of Communism. As in all her books, Alexievich gives voice to women and men whose stories are lost in the official narratives of nation-states, creating a powerful alternative history from the personal and private stories of individuals. ‘Communism had an insane plan: to refashion the “old” breed of man, ancient Adam,’ writes Alexievich. ‘This was perhaps communism’s only achievement. Seventy plus years in the Marxist-Leninist laboratory gave rise to a new kind of man, the Homo sovieticus.’ In this magnificent requiem Alexievich’s method is simple: ‘I don’t ask people about socialism, I ask about love, jealousy, childhood, old age. Music, dances, hairstyles. The myriad sundry details of a vanished way of life… It never ceases to amaze me how interesting ordinary, everyday life is. There are an endless number of human truths… I am fascinated by people.’ From this fascination emerges a hugely important and deeply moving portrait of post-Soviet society. In a nation that likewise grapples with making sense of scattershot historical experience, Alexievich’s portraits may make the South African reader draw unexpected and uncomfortable parallels between Russia post-1990 and South Africa post-1994.
This book provides a unique opportunity to see an inspiring range of portraits from contemporary photographers selected from thousands of submissions. The works included are not only about the sitters but also reveal the outstanding skill of the photographers, in capturing a moment in time, and convey ing something of the spirit of those photographed. This year's In Focus display will be the fourth in the competition's his tory, a display of new works by an internationally renowned photographer that will be exhibited alongside those of the finalists. The works are reproduced in the catalogue, together with other well - known examples by the photographer and an interview about his life and work. Fully illustrated in colour throughout, the book also features all the selected entr ies, comments and insights from the judges and interviews with the prizewinners.
100 Pioneering Women presents a selection of images of remarkable women, who have defied the expectations of their gender and made extraordinary contributions to British life over the past four centuries. An introduction from the Gallery's Senior Curator of Eighteenth Century Collections considers the representation of women in the Collection and the efforts being made to redress historical imbalances through the acquisition of portraits of notable women from the last four centuries. Extended captions provide context about each sitter's life and work and remind us of the impact of women in spheres as diverse as politics, science and medicine, the arts, engineering and law. This book features some of the National Portrait Gallery's most famous sitters - Elizabeth I, writer and women's rights advocate Mary Wollstonecraft, scientist Dorothy Hodgkin and architect and businesswoman Zaha Hadid - as well as paintings and photographs of lesser - known women whose influence is equally significant. A recently acquired portrait of anti-FGM campaigner and psychotherapist Leyla Hussein, a bromide cabinet card of Helena Normanton, the first woman to practise as a barrister in England, and a self-portrait by Angelica Kauffmann, one of the founding members of the Royal Academy, are also included in this highly illustrated publication.
Haabre is a series of portraits of people who represent perhaps the last generation to bear the ritual scarification associated with a number of ethnic groups in various parts of West Africa. These lush images, shot in Choumali’s studio in Abidjan, are accompanied by excerpts of interviews conducted by Choumali with her sitters, which reveal a range of responses to scarification, from pride to ambivalence and even outright rejection of the facial markings. These portraits and texts examine the complex role of tradition in an urban setting such as Abidjan and suggest the shifting nature of the concepts of beauty and identity.
Peripatetic, prolific and perceptive, Mario De Biasi has trekked the world, looking for and capturing human stories of such diversity that this collection could also be called "People." With Boubat, Cartier-Bresson, Gardin and Riboud, De Biasi was part of a generation of travelers and explorers whose oeuvre amounts to a visual ode to the second half of the twentieth century. Through his long collaboration with "Epoca," the Italian magazine, he is considered by many to be the father of photojournalism in his country, inspiring generations of young photographers, with travel bags ready and cameras always in hand. De Biasi finds intimate moments that nevertheless have the sweep of history: a crowded, colorful street scene in the Far East, or a worker napping in the crevice of an ancient monument. This book is part of the "Unpublished Photographs" series.
Karl Blossfeldt (1865-1932) was a great pioneer of botanical photography, yet he was neither a professional photographer nor a botanist. A professor at the Academy of Applied Arts in Berlin, he was a sculptor and amateur photographer, and his interest in the plant world was originally educational. Fascinated by the structure of plants, whose apparently artistic forms were created by biological expediency, he realized that photography could be a useful teaching tool, allowing his students to see and compare many natural forms. Blossfeldt worked with a homemade camera and gathered and photographed his own plant samples, magnifying them by up to 45 times. From around 1898 onwards, he shot some 6,000 images, which he used primarily as visual aids in his classes. Eventually published as Art Forms in Nature (1928) and Art Forms in Nature, Second Series (1932), his photographs had a lasting impact on the art of his day and were enthusiastically embraced by both the Surrealists and the New Objectivity movement. His books brought him overnight fame and are still considered landmarks in the history of art and photography. This volume brings together a remarkable collection of Blossfeldt's strikingly austere yet poetic portraits of plants, capturing their timeless beauty in intimate detail.
This powerful document of the spiritual and physical state of exile now contains 10 new images by master of photography Josef Koudelka. The sense of mystery that fills these photographs - mostly taken during Koudelka's years of wandering through Europe and the United States since leaving his native Czechoslovakia - speaks of passion and reserve, of his 'rage to see'. The brilliant accompanying essay by Robert Delpire invokes the soul of man in search of a spiritual homeland; it speaks with a remarkable and unforgettable dignity.
In 1965, photographer Jerry Schatzberg, already well-established in the field due to his fashion and portrait photography for various publications, such as Vogue, Esquire and Life, listened to Bob Dylan for the first time. He had been hearing about the singer for close to three years; two friends were especially dogged and would ask him every time they spoke if he had heard the music yet. Finally, feeling obligated to them for their persistency, he listened and understood immediately why Dylan was inspiring such passionate excitement. Shortly thereafter, Schatzberg was photographing a job in his studio and had some fortuitous company. Famed music journalist Al Aronowitz and disc jockey Scott Ross were discussing Dylan and a recent performance they had seen of his. Half listening to their conversation, he volunteered that he'd like to photograph the singer if given the chance. Dylan's new wife (one of the friends mentioned above) called the following day and gave him an open invitation to the studio where he was currently recording 'Highway 61 Revisited'. Excited and curious, Schatzberg set off the very next day for the studio, exactly six days after the seminal Newport Folk Festival set where Dylan went electric and was collectively booed. Schatzberg received a warm welcome from the singer, who immediately sat him down to listen to what he had been recording that day. Dylan gave him free rein of the studio once he started shooting and the images that emerged from that day make obvious the comfortable and relaxed atmosphere that was already brewing between photographer and subject. Considering Dylan's almost-universal dislike of journalists (and by extension photographers), this was a completely unprecedented situation, one that Schatzberg took seriously. That almost-instant trust and rapport quickly grew into a friendship and they are part of the reason Schatzberg's sittings with Dylan work so successfully and are so important. Dylan is relaxed, he's funny, he takes the props that the photographer gives him and has fun with them - he's obviously not taking himself too seriously. Working and socialising together, Schatzberg would eventually do nine more photo shoots with Dylan from 1965-6, arguably the singer's most creative period, and capture the (now) Nobel laureate during one of the most pivotal moments in music history. Part of their uniqueness is their basic broad range of intimate and public locations: music and photography studios, live performances and street portraits. But more than that, each session (including the one for possibly his greatest album, 'Blonde on Blonde') says something different about Dylan, the man and the musician, and manages to perfectly capture the many facets of one of the most unique, complex and mysterious individuals of all time.
Terence Donovan was one of the foremost photographers of his generation - among the greatest Britain has ever produced. He came to prominence in London as part of a postwar renaissance in art, fashion, graphic design and photography. Alongside David Bailey and Brian Duffy, photographers of a similar working-class background and outlook, Donovan was a new force in fashion photography. Together, they captured and helped create the Swinging 60s. They socialized with celebrities and royalty, and found themselves elevated to stardom in their own right. Gifted with an unerring eye for the iconic image, Donovan was also master of his craft, a technical genius who pushed the limits of what was possible with a camera. And yet despite his fame and status, there has never been a publication devoted to his fashion work, for he allowed none to be released during his lifetime. Terence Donovan Fashion is thus the first time his fashion pictures have been collected together in book form. Arranged chronologically, from the gritty monochromatic 1960s and 1970s to the vibrant and colourful 1980s and 1990s, the book reveals how his constant invention and experimentation not only set him apart from his contemporaries, but also influenced generations to come. Contributions from some of the many designers, models and art directors who worked with him provide fascinating insights into his practice. Compiled by the artist's widow Diana Donovan and former art director of Nova magazine and Pentagram partner David Hillman, who worked closely with Donovan for over a decade, and including an illuminating text by Robin Muir, ex-picture editor of Vogue, and foreword by Grace Coddington, creative director of American Vogue and advisor to the project, Terence Donovan Fashion is indisputably a landmark in the history of fashion photography.
Acclaimed by "American Photo" as "one of the most important photographers working today," the fashion and celebrity photographer Michael Thompson began his career in the late 1980s as a studio assistant to Irving Penn, and now is famed for his glamorous portraiture. In our celebrity-besotted culture, the magazine photographer holds tremendous power to sculpt the public's conception of a star; and Thompson has done so for such A-listers as Cate Blanchett, Sting, Mariah Carey, Matt Damon, Jodie Foster, Phillip Seymour Hoffman, Julia Roberts, Sting and Meryl Streep. "Michael Thompson: Portraits" presents work spanning Thompson's illustrious 20-year career. Taken from the pages of fashion and lifestyle magazines including "Vogue," "W," "GQ," "Allure" and "Vanity Fair," the nearly 150 images in this book intensify the mythic pungency of their subjects while simultaneously inviting an intimate glimpse into their inner lives. The images have been selected by the widely admired photography critic and connoisseur Vince Aletti, who conducts a far-reaching appraisal of celebrity, using Thompson's images as a touchstone to examine the emergence of celebrity as cult, as well as the power of the photographer's astringent gaze to strip artifice from his subject. As one of the foremost celebrity photographers of the last two decades, Thompson emerges here as a leading image-broker for our times.
Auto Focus features the work of 75 contemporary photographers from around the world for whom self-portraiture is a central part of their work. Issues of identity - national, sexual, racial, personal or artistic - are key to all the images featured in this book. In an extended introduction, historical examples are used to enrich the understanding of how self-portraiture was first used in photography and to illustrate how the contemporary self- portrait derived and developed from those origins. The book, organized around five themes dominant in contemporary self-portraiture, provides a clear guide for readers through a significant and dynamic genre.
The answer to "Porn for Women," this collection of 38 photographs
of hot guys holding baby animals will have you laughing--both at
the humorous pairings and at the brilliant simplicity of the idea.
Hot Guys and Baby Animals features photos of gorgeous guys and their fuzzy friends, along with tongue-in-cheek captions detailing the likes and dislikes of each guy and baby animal. Let the "ohs" and "ahs" begin as male models play with puppies, snuggle kittens, nuzzle lambs, and even coo at a few chicks (baby chickens, that is). Perhaps the Sundance Channel says it best in its review of the California calendar that started it all: "Hot guys + baby animals = genius."
" ...style and fashion mattered greatly, were central to their presentation, and I became fascinated with them I discovered what I believed was a subculture of chic and I thought it merited a story." - Baron Wolman. The 1960s witnessed a huge cultural revolution. Music was at the heart of a new generation's rallying cry for love, peace and harmony - from small clubs to giant festivals like Woodstock. With men predictably dominating as musicians and performers, the women and girls backstage started to explore their own forms of liberation and self-expression. They became better known as the Groupies - offering their allegiance to the music, and the artists who made it. On February 15, 1969 Rolling Stone magazine released a Special Super-Duper Neat Issue called 'THE GROUPIES and Other Girls' featuring the work of their chief photographer, Baron Wolman. It would turn out to be a sensational milestone, making instant celebrities of the women featured. With this single issue, the Groupies had arrived. They emerged as extraordinary women, whose lifestyles divided opinion and remain controversial.Some became models, actresses, writers, artists and musicians - the GTOs, the original "Groupie band" admired and encouraged by Frank Zappa, is featured here. Others fell into obscurity. Now, over 45 years later, ACC and Iconic Images are proud to publish the photographs of Baron Wolman in a single volume. Groupies and Other Electric Ladies features more than 150 images, including previously unseen out-takes and contact sheets, and comes complete with the original Rolling Stone text, as well as interviews with several of the women today.
The National Portrait Gallery is home to more than a quarter of a million photographs that provide a fascinating commentary on British history and culture and on the development of photographic practice from its beginnings in the 1840s all the way up to th e present day. With an introduction from the Gallery's Head of Photographs , this bo ok reveals the stories and techniques behind some of the most popular images in the Gallery's Collection. 100 P hotograph s presents a selection of images of significant individuals who have shaped the last two and a half centuries of British life, from Charles Darwin to David Attenborough , from Virginia Woolf to Kate Moss, captured by artists as diverse as Oscar Rejlander , Ju lia Margaret Cameron and Mario Testino . Each image is accompanied by an extended caption with key information on the sitter and the artist
Fashion photography reflects not only the desires and fantasies of the consumer, but also the changing face of cultural values in society as a whole. A stunning object in its own right, Fashion Photography: The Story in 180 Pictures charts the evolution and glamour of the genre. Featuring names from classic photography alongside those from more recent generations, its draws upon myriad archives and sources to provide a comprehensive and accessible exploration of the subject. Eugenie Shinkle charts how fashion photography flourished with the rise of illustrated magazines, how influential art directors collaborated with photographers to shape epochs of style, and how generations of fashion photographers have built upon one another to expand this genre over the past 150 years. Her introduction and commentary throughout the book bring intelligence and fascinating insight to this popular topic. Through 180 key pictures, Shinkle expertly surveys the important figures and movements to provide an essential primer to fashion photography.
In ancient times older women were the keepers of primal mysteries and were revered for their special wisdom. Today our culture is reawakening to the power of our elders and there is a new interest in this important part of our life cycle.
A visually stunning, landmark photography book of transgender New Yorkers, complete with thought-provoking and revealing interviews that honor the transgender community and the courage it takes to find oneself and defy societal norms. A growing portion of the LGBTQ+ community identifies as transgender; they are family members, friends, neighbors, and colleagues, and yet they are all-too-often stigmatized and misunderstood. This visual tour de force presents exquisite portraits of more than fifty New Yorkers who identify as trans, genderqueer, or gender nonbinary, and interviews with them in which they reveal who they are and what their transitions were like and combat common misconceptions and stereotypes. The vibrant, honest photographs were taken on the streets of New York or in iconic places like Grand Central Station, and together the photos and interviews provoke questions on gender identity, the gender spectrum, and gender expectations. In total, this is an unparalleled articulation of the expressions of sexuality, gender, and self that New York, in all of its beauty, honesty, and compassion, welcomes, as well as a celebration of the power of finding oneself and a compelling call for respect and acceptance. In addition to enlightening text from more than fifty members of New York's trans community and the author, award-winning documentary photographer Peter Bussian, there are inspiring longer essays and an extraordinary foreword by the celebrated trans activist Abby Chava Stein.
In 1978 two of Joseph Szabo's high school students invited him to join them at a Rolling Stones concert at JFK Stadium in Philadelphia. Sensing a promising photo opportunity, Szabo agreed, packing three 35mm cameras and plenty of black-and-white film. Some 90,000 Rolling Stones fans converged on the stadium for the concert, where Szabo captured them drinking, kissing, smoking, dancing and hanging out. Their young subjects transported by the music, the drugs, the alcohol and the community, Szabo's Rolling Stones Fans photographs show unguarded moments of absorption and abandon in the sublimity of the rock and roll gig. Szabo recently returned to these contact sheets; an earlier edition of this work, published in 2007, is now highly collectible. Joseph Szabo: Rolling Stones Fans reprints photographs from this series, selected by Szabo, in a luxurious new edition. Joseph Szabo (born 1944) has been called the "quintessential photographer of the teenager." He is best known for his photographs of adolescents taken in and around the halls of Malverne High School in Long Island, where he taught photography from 1972 to 1999, which were published in the photobook classic Teenage (Greybull, 2003). Turning his camera on his students to get their attention, Szabo captured the anxiety and bravado of the American teenager in classic documentary style black-and-white photographs that quickly attained cult status in the fashion world. In Szabo's own words, his images capture "the years of restless desire and blossoming sexuality. The world of high school, parking lots and street corners, and the uniquely American culture in which all of us have grown up."
Lunch with the Financial Times has been a permanent fixture in the Financial Times for almost 25 years, featuring presidents, film stars, musical icons and business leaders from around the world. The column is now as well-established institution which has reinvigorated the art of conversation in the convivial, intimate environment of a long boozy lunch. On its 25th anniversary, Lunch with the Financial Times 2 will showcase the most entertaining, incisive and fascinating interviews from the past five years including those with Edward Snowden, Bernie Ecclestone, Hilary Mantel, Sheryl Sandberg, Richard Branson, Rebecca Solnit, Emmerson Mnangagwa, Jordan Peterson, Nigel Farage, Woody Harrelson, Sepp Blatter, (pre-election) Donald Trump and Zoella, illustrated in full colour with James Ferguson's famous portraits.
When he was in graduate school in the late 1980s, Timothy Duffy began documenting the ""roots"" music styles of largely forgotten southern musicians in a series of field recordings. Recognizing that too many artists working in these traditions-blues, R&B, hillbilly music, and other now increasingly popular forms-had been either ignored or taken advantage of by mainstream record labels and music media and were living in poverty as a result, Duffy established the Music Maker Relief Foundation to help these forgotten pioneers meet their basic needs and nourish their souls by committing their gifts to archival recordings and reviving performance careers. This book, available for the first time in paperback, features photographs, biographies, interviews, and lyrics from sixty-six real and rooted originals such as Beverly ""Guitar"" Watkins, Cootie Stark, Mudcat, Macavine Hayes, and Drink Small. The music of America exists in these largely forgotten artists who link us back to our earliest history.
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