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This volume presents the essence of the work of the great French photographer Eugène Atget through one hundred carefully selected photographs. Atget devoted more than thirty years of his life to the task of documenting the city of Paris and the surrounding countryside, and in the process created an oeuvre that brilliantly explains the great richness, complexity, and authentic character of his native culture. John Szarkowski, an acknowledged master of the art of looking at photographs, explores the unique sensibilities that made Atget one of the greatest artists of the twentieth century and a vital influence on the development of modern and contemporary photography. The eloquent introductory text and commentaries on Atget’s photographs form an extended essay on the remarkable visual intelligence displayed in these subtle, sometimes enigmatic pictures.
Between 1888 and 1927 Eugne Atget meticulously photographed Paris and its environs, capturing in thousands of photographs the city's parks, streets, and buildings as well as its diverse inhabitants. His images preserved the vanishing architecture of the ancien rgime as Paris grew into a modern capital and established Atget as one of the twentieth century's greatest and most revered photographers. Christopher Rauschenberg spent a year in the late '90s revisiting and rephotographing many of Atget's same locations. Paris Changing features seventy-four pairs of images beautifully reproduced in duotone. By meticulously replicating the emotional as well as aesthetic qualities of Atget's images, Rauschenberg vividly captures both the changes the city has undergone and its enduring beauty. His work is both an homage to his predecessor and an artistic study of Paris in its own right. Each site is indicated on a map of the city, inviting readers to follow in the steps of Atget and Rauschenberg themselves. Essays by Clark Worswick and Alison Nordstrom give insight into Atget's life and situate Rauschenberg's work in the context of other rephotography projects. The book concludes with an epilogue by Rosamond Bernier as well as a portfolioof other images of contemporary Paris by Rauschenberg. If a trip to the city of lights is not in your immediate future, this luscious portrait of Paris then and now is definitely the next best thing.
Text by David Campany, Pierre Mac Orlan, Jeffrey Ladd.
These studies of trees in the park at Saint-Cloud are essentially portraits of trees, some full-length, some details of roots or trunks--each a uniquely stark, high contrast abstraction of a genteel forest through the seasons.
Features new duotone reproductions of one hundred landmark photographs from the collection of The Museum of Modern Art that chronicle the historical evolution of the photographic arts in works by Adams, Weston, Stieglitz, Steichen, and other notable photographers. Reprint. 10,000 first printing.
A lavishly illustrated history of photography in essays by the author of Otherwise Known as the Human Condition See/Saw shows how photographs frame and change our perspective on the world. Taking in photographers from early in the last century to the present day—including artists such as Eugène Atget, Vivian Maier, Roy DeCarava, and Alex Webb—the celebrated writer Geoff Dyer offers a series of moving, witty, prescient, surprising, and intimate encounters with images. Dyer has been writing about photography for thirty years, and this tour de force of visual scrutiny and stylistic flair gathers his lively, engaged criticism over the course of a decade. A rich addition to Dyer’s The Ongoing Moment, and heir to Roland Barthes’s Camera Lucida, Susan Sontag’s On Photography, and John Berger’s Understanding a Photograph, See/Saw shows how a photograph can simultaneously record and invent the world, revealing a brilliant seer at work. It is a paean to art and art writing by one of the liveliest critics of our day.
An insightful new look at two renowned photographers, their interconnected legacies, and the vital documents of urban transformation that they created In this comprehensive study, Kevin Moore examines the relationship between Eugène Atget (1857-1927) and Berenice Abbott (1898-1991) and the nuances of their individual photographic projects. Abbott and Atget met in Man Ray's Paris studio in the early 1920s. Atget, then in his sixties, was obsessively recording the streets, gardens, and courtyards of the 19th-century city--old Paris--as modernization transformed it. Abbott acquired much of Atget's work after his death and was a tireless advocate for its value. She later relocated to New York and emulated Atget in her systematic documentation of that city, culminating in the publication of the project Changing New York. This engaging publication discusses how, during the 1930s and 1940s, Abbott paid further tribute to Atget by publishing and exhibiting his work and by printing hundreds of images from his negatives, using the gelatin silver process. Through Abbott's efforts, Atget became known to an audience of photographers and writers who found diverse inspiration in his photographs. Abbott herself is remembered as one of the most independent, determined, and respected photographers of the 20th century.
This is a collection of essays, reviews, and lectures - some of which have gained a cult following due to online postings by Tod Papageorge, one of the most influential voices in photography today.
An intimate meditation on photography for the ages, curated around 120 epochal photographs. In On Photographs, curator and writer David Campany presents an exploration of photography in 120 photographs. Proceeding not by chronology or genre or photographer, Campany's eclectic selection unfolds according to its own logic. We see work by Henri Cartier-Bresson, William Eggleston, Helen Levitt, Garry Winogrand, Yves Louise Lawler, Andreas Gursky, and Rineke Dijkstra. There is fashion photography by William Klein, one of Vivian Maier's contact sheets, and a carefully staged scene by Gregory Crewdson, as well as images culled from magazines and advertisements. Each of the 120 photographs is accompanied by Campany's lucid and incisive commentary.