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Women with Cameras (Anonymous)is a new artist's book by Anne Collier (born 1970), with a text by Hilton Als (winner of the 2017 Pulitzer Prize for Criticism), that consists of a sequence of 80 images of found amateur photographs that each depict a female subject in the act of holding a camera or taking a photograph. . Dating from the 1970s to the early 2000s, these artifacts of the pre-digital age were collected by Collier over a number of years from flea markets, thrift stores and online market places. Each of these photographs has, at some point in the recent past, been discarded by its original owner. The concept of "abandonment," of photographic images and the personal histories that they represent, is central to Women with Cameras (Anonymous), which amplifies photography's relationship with memory, melancholia and loss. The sequence of the images in Collier's book follows the format of her 35mm slide projection work Women with Cameras (Anonymous)(2016), that was recently shown to great acclaim in Tokyo, Japan, and Basel, Switzerland.
This book collects images that New York-based artist Anne Collier (born 1970) originally presented as a slideshow of 80 35mm slides depicting found images of female subjects in the act of taking self-portraits. Dating from the 1970s to the early 2000s, these relics of the pre-digital age were collected by Collier, each image discarded by its original owner but finding its way back to relevance in Collier's work. The slideshow consists of amateur snapshots of women photographing themselves with film cameras prior to the advent of the digital "selfie." Instead of circulating on social media, these abandoned images once existed for a private audience. The resulting work is steeped in a deep sense of loneliness, illustrating photography's contentious relationship to memory, loss and self-representation. The book represents a kind of sequel to Collier's 2017 book Women with Cameras (Anonymous).
Introduction by Justine KurlandEssay by Thomas StruthJanice Guy weaves together thirty photographs from two distinct moments of Janice Guy¿s output as an artist: it re-presents a group of works that were produced and exhibited between 1975 and 1980, interspersing them with newly printed pictures selected from her archive during our research for the book.
Essays on photography and the medium's history and evolving identity. In Each Wild Idea, Geoffrey Batchen explores a wide range of photographic subjects, from the timing of the medium's invention to the various implications of cyberculture. Along the way, he reflects on contemporary art photography, the role of the vernacular in photography's history, and the Australianness of Australian photography. The essays all focus on a consideration of specific photographs—from a humble combination of baby photos and bronzed booties to a masterwork by Alfred Stieglitz. Although Batchen views each photograph within the context of broader social and political forces, he also engages its own distinctive formal attributes. In short, he sees photography as something that is simultaneously material and cultural. In an effort to evoke the lived experience of history, he frequently relies on sheer description as the mode of analysis, insisting that we look right at—rather than beyond—the photograph being discussed. A constant theme throughout the book is the question of photography's past, present, and future identity.
A half-century of social change in America, documented in the writings of Danny Lyon, photographer and author of The Bikeriders and The Destruction of Lower Manhattan "From the beginning, even before he left the University of Chicago and headed south to take up a position as the first staff photographer for the Student Nonviolent Coordinating Committee, Danny Lyon dreamed of being an artist in language as well as in pictures," writes Randy Kennedy in the introduction to American Blood. In 1961, at the age of 19, for example, Lyons penned a brutally satirical article for a student mimeo magazine in which he argued for the deterrent power of prime-time televised executions ("the show would open, no doubt, like a baseball game, with a rendition of the National Anthem"). Lyon is widely celebrated for his groundbreaking work in photography and film. Less recognized is the extensive body of writing that has broadened and reinforced his reach, in both the pages of his own publications and in others as varied as the Los Angeles Times, the New York Review of Books, Aperture, civil rights publications, underground magazines and Lyon's blog. This 400-page volume spans republished and previously unpublished texts from nearly six decades of his career, comprising a vast, meticulously archived history of American social change. Also included are conversations between Lyon and Hugh Edwards, Nan Goldin and Susan Meiselas. As Kennedy writes, Lyon's collected writings, "remarkable as both artistic and moral models, remain far too little known, especially for an author who has seen what he has seen and possesses the rare ability to write about it as he speaks; Lyon is a world-class talker, funny, wise, sanguine and indefatigable." Danny Lyon (born 1942) is one of the most influential documentary photographers of the last five decades. His many books include The Movement (1964), The Bikeriders, The Destruction of Lower Manhattan (1969), Knave of Hearts (1999), Like a Thief's Dream (2007) and Deep Sea Diver (2011).
This publication presents fascinating new findings on ancient Romano-Egyptian funerary portraits preserved in international collections. Once interred with mummified remains, nearly a thousand funerary portraits from Roman Egypt survive today in museums around the world, bringing viewers face-to-face with people who lived two thousand years ago. Until recently, few of these paintings had undergone in-depth study to determine by whom they were made and how. An international collaboration known as APPEAR (Ancient Panel Paintings: Examination, Analysis, and Research) was launched in 2013 to promote the study of these objects and to gather scientific and historical findings into a shared database. The first phase of the project was marked with a two-day conference at the Getty Villa. Conservators, scientists, and curators presented new research on topics such as provenance and collecting, comparisons of works across institutions, and scientific studies of pigments, binders, and supports. The papers and posters from the conference are collected in this publication, which offers the most up-to-date information available about these fascinating remnants of the ancient world. The free online edition of this open-access publication is available at www.getty.edu/publications/mummyportraits/ and includes zoomable illustrations and graphs. Also available are free PDF, EPUB, and Kindle/MOBI downloads of the book.
On Being an Angel takes its title from a caption the artist inscribed on two of her photographs--self-portraits with her head thrust back and her chest thrust forward. Typical of Woodman's work in the way they cast the female body as simultaneously physical and immaterial, these photographs and the evocative title they share are apt choices to encapsulate the work of an artist whose legacy has been unavoidably colored by her tragic personal biography and her death, at age 22, by suicide. In less than a decade, Woodman produced a fascinating body of work--in black and white and in color--exploring gender, representation, sexuality and the body through the photographing of her own body and those of her friends. Since her death, Woodman's influence continues to grow: her work has been the subject of numerous in-depth studies and exhibitions in recent years, and her photographs have inspired artists all over the world. Published to accompany a travelling exhibition of Woodman's work, Francesca Woodman: On Being an Angel offers a comprehensive overview of Woodman's oeuvre, organized chronologically, with texts by Anna Tellgren, Anna-Karin Palm and the artist's father, George Woodman. Francesca Woodman (1958-81) was born in Denver, Colorado, to an artistic family and began experimenting with photography as a teenager. In 1975 she attended the Rhode Island School of Design, and in 1979 she moved to New York to attempt to build a career in photography. Woodman's working career was intense but brief, cut short by her death in 1981.
Words Without Pictures was originally conceived of by curator Charlotte Cotton as a means of creating spaces for thoughtful and urgent discourse around current issues in photography. Every month for a year, beginning in November 2007, an artist, educator, critic, art historian, or curator was invited to contribute a short, un-illustrated, and opinionated essay about an aspect of photography that, in his or her view, was either emerging or in the process of being rephrased. Each piece was available on the Words Without Pictures website for one month and was accompanied by a discussion forum focused on its specific topic. Over the course of its month-long life, each essay received both invited and unsolicited responses from a wide range of interested partiesstudents, photographers active in the commercial sector, bloggers, critics, historians, artists of all kinds, educators, publishers, and photography enthusiasts alikeall coming together to consider the issues at hand. All of these essays, responses, and other provocations are gathered together in a volume designed by David Reinfurt of Dexter Sinister. Previously issued as a print-on-demand title, Aperture is pleased to present Words Without Pictures to the trade for this first time as part of the Aperture Ideas series.
Much of contemporary photography and video seems haunted by the past, by ghostly apparitions that are reanimated in reproductive media, as well as in live performance and the virtual world. By using dated, passé, or quasiextinct stylistic devices, subject matter and technologies, this art embodies a melancholic longing for an otherwise unrecuperable past. Haunted examines the myriad ways photographic imagery is incorporated into recent practice and in the process underscores the unique power of reproductive media while documenting a widespread contemporary obsession with documenting the past. The works included in the exhibition range from individual photographs and photographic series, to sculptures and paintings that incorporate photographic elements, to videos, film, performance and site-specific installations. Drawn primarily from the Guggenheim's collection, Haunted features recent acquisitions, many of which will be exhibited by the museum for the first time.
Charming photographs of cinematic icons Marlon Brando, Paul Newman, Audrey Hepburn, Sidney Poitier, Marilyn Monroe and countless others.