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Drawing from the nearly half a million photographs and documents comprising the Historic American Buildings Survey held in the US Library of Congress, this book constructs a fictional ?one-way road trip? across the United States, weaving north and south across the Mason-Dixon line while tacking west. In A Field Measure Survey of American Architecture, Jeffrey Ladd uses the HABS archive as a surrogate in order to manifest a portrait of his former country at a moment when its democracy seems imperiled.00Inspired equally by the social documentary work of Walker Evans and the architectural interventions of Gordon Matta-Clark and others, Ladd embraces the muteness of photographs to create an ambiguous space where the sculptural, political, forensic, and fictional coalesce within a landscape of both beauty and fragility. What initially appears to be a single voice is revealed to belong to dozens of makers; what seems a description of the distant past is revealed to be closer to the present than expected. A Field Measure Survey sheds light not only on this remarkable archive but on the proliferate meanings that can be shaped from its images.
Evolving from a series of road trips along the Mississippi River, Alec Soth's Sleeping by the Mississippi captures America's iconic yet oft-neglected "third coast." Soth's richly descriptive, large format color photographs describe an eclectic mix of individuals, landscapes, and interiors. Sensuous in detail and raw in subject, his book elicits a consistent mood of loneliness, longing and reverie. "In the book's forty-six ruthlessly edited pictures," writes Anne Wilkes Tucker, "Soth alludes to illness, procreation, race, crime, learning, art, music, death, religion, redemption, politics, and cheap sex... The coherence of the project places Soth's book exactly within the tradition of Walker Evans' American Photographs and Robert Frank's The Americans." Like Frank's classic book, Sleeping by the Mississippi merges a documentary style with a poetic sensibility. The Mississippi is less the subject of the book than its organizing structure. Not bound by a rigid concept or ideology, the series is created out of a quintessentially American spirit of wanderlust. This is the third print run and third new cover of a book which has become one of the most highly collected and widely acclaimed photo-books of recent times.
Photographs and text record Hiroshima as it appears now and tells the story of some of the survivors.
Tiré du site de l'éditeur: "What kind of gaze does the city license? What kind of gaze does it induce, determine, inform, program, organise? What is the nature of the city as reality, as image and as symbol? What is this object of desire, at once near and ungraspable, fascinating and repulsive, attractive and intractable, necessary and unbearable, intimate and impenetrable, available and inaccessible, that it is for itself as well as for the man of the crowd, for the man in the street, for the man of the city, for those who inhabit it and those merely passing through it, for anyone who knows that it is a labyrinth but nonetheless allows himself to remain trapped in it? Hubert Damisch. Takashi Homma uses fragments collected in camera obscura constructed in metropolitan areas of Japan and the US to build a city image by image. Homma does not seek to index any particular city but to render a shadow world, a city's unconscious caught in a dark chamber, suspended in the camera's box. The camera obscura offers a repetition, like the reflection shimmering in Narcissus's pool. The narcissistic city is a city transfixed upon its own image - a mirror city, laced with repetition (modular) and reflections (glass). A city looking at its reflection, a city caught in a dark chamber, a city observing its camera obscura inversion - flickering inside the camera's box."
Epic in scope, intimate in detail, heartbreaking in its human drama, Former People is the first book to recount the history of the nobility caught up the maelstrom of the Bolshevik Revolution and the creation of Stalin’s Russia. It is a book filled with chilling tales of looted palaces, burning estates, of desperate flights in the night from marauding bands of thugs and Red Army soldiers, of imprisonment, exile, and execution. It is the story of how a centuries’-old elite famous for its glittering wealth, its service to the empire, its promotion of the arts and culture, was dispossessed and destroyed along with the rest of old Russia. Drawing on the private archives of two great families – the Sheremetovs and the Golitsyns – it is also a story of survival and accommodation, of how many of the tsarist ruling class, so-called 'former people', managed to find a place for themselves and their families in the hostile world of the Soviet Union. It reveals, too, how even at the darkest depths of the terror, daily life went on - men and women fell in love, children were born, friends gathered. Ultimately, Former People is a testament to the resilience of the human spirit.
From the end of the Pacific War in 1945 to the Tokyo Olympic Games in 1964, photography blossomed in Japan as the country underwent radical change. This is a comprehensive review of this period in Japanese photography offering a tribute to the nation's strength in the face of social upheaval.
With The Night Is Still Young, Los Angeles-based, Japanese photographer Tomoaki Hata returns to his roots-the underground club scene of Osaka's gay, nightlife district. Filled with intimate images of the radically-creative drag queens who performed at various venues in the city from the late 1990s through the present, this book is a peek into the underbelly of modern Japan. Hata occupies a much-deserved place in the ranks of the great Japanese photographers-on par with the likes of Daido Moriyama and Nobuyoshi Araki-yet he achieved this rank not by following the example of these greats, but via the presentation of his own unique view of a slice of Japanese culture that otherwise remains largely undocumented. Gay life and culture in Japan remains mostly secretive, and tends to take place within the safe confines of gay bars and gay districts that are many times hidden in plain view within the entertainment districts of major urban centers. A passionate and intimate portrayal of the gender-bending performers as they cavort, both on and off the stage, Hata exposes this elusive subculture for the entire world to see. The results are campy and combustible images of drag performers going full tilt. Glitter, glamour, sequins, and seediness are all on display, up-close and unrestrained. Including an essay on Hata's photographs-and the world they examine-The Night Is Still Young captures and contextualizes drag culture in Japan at the turn of the century, and is the ultimate primary-source document of this otherwise obscure scene.
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.
Journey with innovative travel writer Stephen Barber as he guides the reader through the ultimate futuristic city: Tokyo. A cinematic portrayal of the city, from close-up portraits of individual citizens to panoramic descriptions of its vast avenues and immense digital-image screens. From day to night and past to present, "Tokyo Vertigo" is visceral, exhilarating travel writing. Photos.
"Within the past twenty-five years the character of Japanese photography has changed radically, and its former dependence on the patterns and attitudes of the traditional Japanese media has been replaced by a sometimes harshly realistic objectivity. At the root of this change was a desire to find ways in which photography could deal directly with contemporary experience, rather than with the basically tormalistic issues of picture structure. The work produced under this impetus has influenced photographic thinking throughout the world. This book surveys the major innovative figures in recent Japanese photography and reports on the most significant work being done by younger photographers in Japan today. Alive with visual excitement, the volume presents the distinctive work of fifteen photographers."--Page 4 de la couverture.