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There's nothing quite like a relationship with an aged pet-a dog or cat who has been at our side for years, forming an ineffable bond. Pampered pets, however, are a rarity among animals who have been domesticated. Farm animals, for example, are usually slaughtered before their first birthday. We never stop to think about it, but the typical images we see of cows, chickens, pigs, and the like are of young animals. What would we see if they were allowed to grow old? Isa Leshko shows us, brilliantly, with this collection of portraits. To create these portraits, she spent hours with her subjects, gaining their trust and putting them at ease. The resulting images reveal the unique personality of each animal. It's impossible to look away from the animals in these images as they unforgettably meet our gaze, simultaneously calm and challenging. In these photographs we see the cumulative effects of the hardships of industrialized farm life, but also the healing that time can bring, and the dignity that can emerge when farm animals are allowed to age on their own terms. Each portrait is accompanied by a brief biographical note about its subject, and the book is rounded out with essays that explore the history of animal photography, the place of beauty in activist art, and much more. Open this book to any page. Meet Teresa, a thirteen-year-old Yorkshire Pig, or Melvin, an eleven-year-old Angora Goat, or Tom, a seven-year-old Broad Breasted White Turkey. You'll never forget them.
'Rough Beauty' is a powerful and moving insight into the struggle of the community of Vidor, Texas, against poverty and its past links to the Ku Klux Klan.
Israel's history can be understood through its vast archaeological heritage. Its past exists not only in the written word but also in its land, in the architecture and ruins, in the stones themselves. Each civilization overwrites another, layer upon layer - a sophisticated palimpsest. A single frame can expose the sediment of thousands of years. The recycling of spaces, from one empire to the next, shows how each sought to conquer and rule the land, all with a similar outcome: eventual failure. Kremer shows the vestiges of this complex multi-cultural saga, testimonies unearthed from the past that show a different perspective. It is landscape as a place of amnesia and erasure, for Israel is a strategic site where the past has been buried and history veiled by natural beauty. Kremer's Israel exists beyond the media headlines and tourist hotspots: it is landscape as cultural force, an instrument in the construction of national and social identity. For Kremer, it is a provocation to critical debate about a country where different perspectives existed, and continue to exist, and where new possibilities can be reflected upon.
Recently contemporary Korean art has garnered significant international recognition, in part for the work of photographers Atta Kim and Bae Bien-U. Now, this richly illustrated book brings their work together with that of forty other up-and-coming Korean artists, each working to stretch the bounds of the photographic medium. One of the first books on the subject, "Chaotic Harmony "features essays by Anne Wilkes Tucker and Karen Sinsheimer exploring the notions of urbanization, politics, identity, community, globalization, tradition, and fantasy in today's Korean photography. A chronology of recent developments, prepared by noted photographer Bohnchang Koo, also accompanies brief biographies of the artists, as well as a complete checklist of the exhibition. This catalogue sheds a new light on Korean photographers' little-known contributions to the world arena of contemporary art.
The art world has recently witnessed an international phenomenon, literally "red hot" in its pulsating energy, as new artists from Asia have been redefining the parameters of the contemporary scene. Featuring works from an extraordinary private collection in Houston, this book surveys the most innovative art trends coming out of Japan, China, South Korea, and Vietnam. The spotlight focuses on the generation of artists who emerged after the political and economic upheavals of the late 1980s and early 1990s, among them Takashi Murakami, Chen Wenling, and the Luo Brothers.
In this appealing book, acclaimed photographer Ralph Gibson offers more than sixty intimate black-and-white portraits of guitar masters playing their instruments. Focusing his expert lens on musicians who have lent their unmistakable voices to virtually every musical genre-jazz, funk, rock, acoustic, blues, fusion, classical, and experimental-Gibson reveals in each photograph the intense relationship of the player with his beloved "axe." The musicians in turn offer individual meditations on the guitar and insights into the passion they share for it. State of the Axe features guitarists across several generations, from early jazz greats to hip modern rockers, as they play their widely varied guitars, including traditional six-strings, double necks, ten-strings, and fretless models. Gibson's images capture the enduring appeal of the instrument and the intense, often rapturous expressions of those who pick, strum, amp, bottleneck, and bow the axe. Fusing his own passions for photography and music, Gibson generates a rhythm of words and images that creates a compelling view of the "state of the axe" today. Among the featured artists: Adrian Belew Nels Cline Jim Hall Mary Halvorson Allan Holdsworth Bill Frisell John McGlaughlin Lou Reed John Scofield Mike Stern Andy Summers James Blood Ulmer
Amy Blakemore (b. 1958) is renowned for her deceptively simple photographs of friends, family, and local landscapes. Her images, featured here for the first time in book form, evoke fleeting aspects of personality and memory and have been shown in numerous exhibitions, including the 2006 Whitney Biennial. Blakemore has worked for the past twenty years with low-tech, medium-format Diana cameras known for flaws that produce a flattened perspective, color shifts, vignetting, and blurriness. Blakemore manipulates these flaws to capture the way memory simultaneously records and distorts visual information, creating photographs that are familiar and mysterious--both documents of the present and suggestions of times past. Presenting some forty works that range from Blakemore's black-and-white images of the mid-1980s and color photographs in the 1990s to her recent focus on the figure, the book brings together images that seem to record casual, spontaneous moments but also hint at a larger narrative.
Best-known for Saigon Execution, his Pulitzer Prize-winning photograph that forever shaped how the world views the horrors of war, Eddie Adams was a renowned American photojournalist who won more than five hundred awards, including the George Polk Award for News Photography three times and the Robert Capa Gold Medal. During his fifty-year career, he worked as a staff photographer for the Associated Press, Time, and Parade, and his photos appeared on more than 350 magazine covers. Adams is also famous and deeply respected for founding the Eddie Adams Workshop, an intensive photography seminar whose graduates include twelve Pulitzer Prize-winners and many others who have achieved illustrious careers in journalism, commercial photography, and media. Eddie Adams presents a career-spanning selection of the photographer's finest work from the 1950s through the early 2000s, drawn from the Eddie Adams Photographic Archive at the Dolph Briscoe Center for American History at the University of Texas at Austin. In addition to his much-praised Vietnam War photography, the book includes images that uncannily reflect world and domestic issues of today, including immigration, conflict in the Middle East, and the refugee crisis. All of them attest to Adams's overwhelming desire to tell people's stories. As he once observed, "I actually become the person I am taking a picture of. If you are starving, I am starving, too." Accompanying the images are an essay by internationally acclaimed photography curator Anne Wilkes Tucker, a personal remembrance by Adams's widow Alyssa Adams, a foreword by Briscoe Center director Don Carleton, who provides a concise history of Adams's career, and a timeline.
In the early 1970s, Nancy Rexroth began photographing the rural landscapes, children, white frame houses, and domestic interiors of southeastern Ohio with a plastic toy camera called the Diana. Working with the camera's properties of soft focus and vignetting, and further manipulating the photographs by deliberately blurring or sometimes overlaying them, Rexroth created dreamlike, poetic images of "my own private landscape, a state of mind." She called this state IOWA because the photographs seemed to reference her childhood summer visits to relatives in Iowa. Rexroth self-published her evocative images in 1977 in the book IOWA, and the photographic community responded immediately and strongly to the work. Aperture published a portfolio of IOWA images in a special issue, The Snapshot, alongside the work of Robert Frank, Garry Winogrand, Lee Friedlander, and Emmet Gowin. The International Center for Photography, the Corcoran Gallery of Art, and the Smithsonian Institution included IOWA images in group exhibitions. Forty years after its original publication, IOWA has become a classic of fine art photography, a renowned demonstration of Rexroth's ability to fashion a world of surprising aesthetic possibilities using a simple, low-tech dollar camera. Long out of print and highly prized by photographers and photobook collectors, IOWA is now available in a hardcover edition that includes twenty-two previously unpublished images. Accompanying the photographs are a new foreword by Magnum photographer and book maker Alec Soth and an essay by internationally acclaimed curator Anne Wilkes Tucker, who affirms the continuing power and importance of IOWA within the photobook genre. New postscripts by Nancy Rexroth and Mark L. Power, who wrote the essay in the first edition, complete the volume.
Extensively covered by the media, debated by the governments of the world and claimed by vying religions, Israel is a remarkable case study for understanding the rise and fall of empires. By highlighting the country's historic architecture and its highly contentious ruins, Israeli photographer Shai Kremer (born 1974) questions how these sites figure today in the discourse of the Israeli-Palestinian conflict and the future of the nation. "Fallen Empires" invites viewers to consider new relationships between the histories and identities assembled and disassembled in the creation of modern Israel. As Kremer explains, "Israel is overloaded with sediments of past empires. More than half of the current IDF (Israel Defense Forces) strongholds rest on the ruins of military sites of former empires. The recycling of these spaces, from one conqueror to the next, shows how most empires tried to conquer and rule this land, with one similar outcome: they eventually failed."
This diverse and compelling collection of contemporary feminist visual art is now available in a paperback edition. "Reframings" makes visible what has been for too long nearly invisible: contemporary feminist visual art that represents a remarkable range of perspectives, styles, and subject matter. The forty-five women who created these works-artists and writers such as Deborah Willis, Carrie Mae Weems, Nan Goldin, and Carm Little Turtle-are connected by a belief that images are political and that today's feminist concerns cannot be separated from such issues as ethnicity, class, age, and sexuality. They share a consciousness that historically women have been "framed" and can now be "reframed." Diane Neumaier is Associate Professor of Visual Arts at Mason Gross School of the Arts, Rutgers University.
War/Photography surveys both iconic and newly discovered photographs of war and conflict, from daguerreotypes documenting the Crimean and American Civil Wars to digital images made by soldiers in 21st-century Iraq. Accompanying a landmark exhibition opening at the Museum of Fine Arts, Houston, it is generously illustrated with over 525 powerful images and includes texts by some of today's most important scholars of war photography. This ambitious book offers a comprehensive investigation of the relationship between photography and armed conflict. The featured works represent a range of perspectives - from journalists to soldiers to ordinary citizens - and span six continents, yet together they communicate the consummate experience of war: its brutality, humanity, and even humour. The book's essays investigate the immediate impact, dissemination, and historical influence of war photography.
The Byrd Williams Collection at the University of North Texas contains more than 10,000 prints and 300,000 negatives, accumulated by four generations of Texas photographers, all named Byrd Moore Williams. Beginning in the 1880s in Gainesville, the four Byrds photographed customers in their studios, urban landscapes, crime scenes, Pancho Villa's soldiers, televangelists, and whatever aroused their unpredictable and wide-ranging curiosity. When Byrd IV sat down to choose a selection from this dizzying array, he came face to face with the nature of mortality and memory, his own and his family's. In some cases these photos are the only evidence remaining that someone lived and breathed on this earth. The 193 photos selected here are organized into thematic sections such as "Landscapes," "Violence and Religion," and "Darkness." They are significant not just for the range of subjects, but for the inclusion of a variety of examples of the evolving photographic technology from the 1880s to the present. This book is an unprecedented portrait of both photographic history and the history of Texas, as well as a record of one unique family.
Gay Block (born 1942) began photographing her own affluent Jewish community in Houston in 1973. She expanded this study to include Jewish senior citizens in south Miami Beach, focusing with affection on the "bubbies" or grandmothers that (she attests) she wished she herself had had as a child. Later, Block's landmark work, "Rescuers: Portraits of Moral Courage in the Holocaust," made in collaboration with writer Malka Drucker, explored the lives of non-Jewish Europeans who risked their lives to hide Jews from the Nazis. This series was exhibited at The Museum of Modern Art in 1992, and has been exhibited internationally. In 2003, Block's 30-year series of photo-, video- and written portraits of her mother, "Bertha Alyce: Mother exPosed, "was published to great acclaim and was cited as one of "Twelve Great Books Published During the Year 2003" by "The Review of Arts, Literature, Politics and the Humanities." Here, for the first time, "About Love" surveys more than 30 years of Block's intimate and moving portraits. She explains the title thus: "Through photography, I have learned about love. I hadn't learned about it at home or in school... I couldn't have learned about love without photography, and I'm still learning." Organized chronologically, and published in an oversize format that is designed to evoke the idea of a family album, the book offers a thorough overview of the artist's approach to portraiture.
Football is an American phenomenon, and Texas fans have long embraced the sport with unrivaled fervor. In 2002, when a new professional football team hit the Lone Star State, the Museum of Fine Arts, Houston, recognized a unique opportunity to record history in the making. Although millions of photographs of football exist, the first year of a NFL team has never been captured. The museum and the Houston TEXANS have collaborated to document the team's first season. From the NFL players' draft to the TEXANS' opening day to the final game of the Houston team's inaugural year, both the quiet and the frenetic rhythms of a major-league football enterprise are vividly charted. More than just a strict chronicle, "The Houston TEXANS" reveals every angle of the team that was founded by Robert C. McNair and has won the hearts of Texas football fans. Award-winning photographer Robert Clark ("Friday Night Lights") was granted unprecedented access to the team. He took action shots and players' portraits; shot views of training camp and weight-room sessions; and produced memorable images of the players and their families outside of the public's intense gaze. He also photographed Mr. and Mrs. McNair, the coaches, and other staff members that are part of the business of professional football. Seen together, the approximately 150 photographs provide a penetrating and intimate look into the world of the Houston TEXANS. This book is being produced in conjunction with an exhibition of the same name to be held at the Museum of Fine Arts, Houston, from September 13 through December 7, 2003. Both the book and exhibition pay tribute to the football team that has taken Texas by storm.
This striking collection of photographs features nearly every important figure in the world of rock & roll, from Elvis to Eric Clapton, the Beatles to Bob Dylan, Jimi Hendrix to John Coltrane. Many of the nearly one hundred images have rarely been published, and all reveal fascinating glimpses of celebrities off stage, away from the glare of the spotlights. Shot from the mid-fifties to the mid-nineties, the portraits often have a spontaneous, informal, and everyday feel, and most record their subjects before they had become immensely famous--and well practiced in posing for photographs. The more than fifty photographers who contribute to the volume are among the most talented in their field, including Lee Friedlander, Lynn Goldsmith, Bob Gruen, Mick Rock, and many more. Three original essays address topics suggested by the photographs. The authors discuss the coded nature of celebrity portraiture, the 1970s music scene in New York City, the frank sexuality of rock musicians, and how the Beatles' look evolved over time. This book will be treasured not only by fans of rock & roll music and admirers of photographic portraits, but also by those who remember the vanished time when photographers had genuine access to performers, and were a crucial element in the worlds they were documenting.
"O. Rufus Lovett photographs with love in his heart. His graphic pictures are elegant and powerfully poignant. They focus on intimate moments in a community's ongoing, everyday life. Viewing his work, I feel like an unexpected but warmly welcomed guest at a private gathering of very close friends and family. Tenderness, humor, anxiety, pain, joy, and sorrow are present in overflowing abundance. I am grateful for this uplifting and deeply touching experience." -- Michael Kenna "O. Rufus Lovett's Weeping Mary is a poetic representation of his love for the people who live in a small town in East Texas. His beautiful, graphic images reveal the details and objects that are so much a part of the lives of these people, as well as showing us very tender and sometimes very private moments. This book is the culmination of many years of hard work and devotion to a community and its people." -- Mary Ellen Mark "O. Rufus Lovett makes images that are intimate enough to feel like a gift placed in our hands by a lover. Infused with sweet trust and the energetic passions of childhood, they present a strong yet delicate nest of family ties and memories. As I absorb them, I remember places I have never been." -- Arthur Ollman
Small and self-contained, yet with ties to the larger world, Weeping Mary is a community in rural East Texas. The poetic mystery of its name, which local legend attributes to an African American woman called Mary who wept inconsolably over the loss of her land to a deceitful white man, drew photographer O. Rufus Lovett in 1994. Feeling a kinship with the people and the rhythms of a small Southern town like the one in which he grew up, Lovett began photographing theresidents of Weeping Mary. In the decade since his first visit, he has created an impressive body of work that distills the essence of this unique, yet instinctively familiar community.
In this book, O. Rufus Lovett presents an eloquent photo essay on Weeping Mary, created in the tradition of such master photographers as Henri Cartier-Bresson, Walker Evans, and Helen Levitt. Focusing on the people of the community, especially the children, Lovett photographs with honesty and a deep empathy for his subjects. His beautifully composed images show a true eye for the telling details through which the character of an individual reveals itself. As a collection, the photographs create a portrait of a community rich in spirit, in which people are "married to this place which is theirs and appears to stand still, but which subtly moves forward with the rest of the world in the twenty-first century."
To frame the images, America's leading photography curator, Anne Wilkes Tucker, describes the community of Weeping Mary and offers a critical appreciation of Lovett's work. The volume also includes a photographer's statement and an interview in which Lovett and Tucker discuss his development as a fine art photographer and his motivations for creating this intimate portrait of Weeping Mary.
As an interpretive body of work, Lovett's Weeping Mary photographs make a powerful statement about the human community we all share-- in his words "our families, pastimes, priorities, wishes, and ideals."
The Texas State Historical Association is pleased to offer a third edition of Watt Matthews of Lambshead, a major work of art and an important historical document. Since the first edition was published in 1989, Laura Wilson's chronicle of this iconic ranch has proven to be a popular and important contribution to the story of Texas. In words and especially in Wilson's starkly beautiful images, Watt Matthews of Lambshead captures a way of life that is iconically Texan, one now only available to a vanishing number of residents of the Lone Star State, where even rural landscapes are increasingly dominated by industrial activities like high-density feedlots and oil extraction. In The 50+ Best Books on Texas (1998), A. C. Greene wrote that "[Watt] Matthews . . . was the last living link with all the Texas cowboy and ranch mythology and lore from the 1850s." The ranch has continued to operate after his death in 1997, and this edition includes an afterword that details recent developments. A new foreword by Anne Wilkes Tucker, curator emeritus of photography at the Museum of Fine Arts, Houston, puts the book in the context of Wilson's career as one of the most notable photographers of the contemporary American West.
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