In An American Lens, Jay Bochner looks at a series of milestones in the development of the American avant-garde that capture a pivotal period in artistic consciousness. He focuses on the multiple roles of Alfred Stieglitz—as influential gallery owner, photographer, and impresario of the emerging art scene—at a series of significant moments in his career. These close-ups offer a more intense and expanded understanding of the subject than the familiar long view.
This abundantly illustrated look at orangutan life tells the story of one of the most fascinating members of the great ape family. In Orangutans, conservation biologist Junaidi Payne presents an informative and compelling description of the lives of orangutans, from their habitat and behavior to the complex intricacies of orangutan society, with discussions of such topics as the differences between wild and captive creatures and characteristics of age and sex.
Today's dominant fast-food franchises spend millions to persuade us that they do it all for us, that we can have it our way. White Tower, the pioneering hamburger chain founded in 1926, never felt the need for this kind of advertising; it depended on its instantly recognizable building to say it all.
The photographs in Zoe Leonard’s Analogue trace the “layered, frayed, and quirky” beauty of a fading way of life. Zoe Leonard documents the vanishing face and texture of twentieth century urban life, as seen in the shop windows of mom-and-pop stores. Lacking the glamour of the shopping mall and the digitally manipulated perfection of mail order catalogs, these fading objects tenaciously hold on to their disappearing place on city streets.
Any new film and any new book by French filmmaker Chris Marker is an event. Marker gave film lovers one of their most memorable experiences with La Jetée (1962)—a time-travel montage set after a nuclear war that inspired Terry Gilliam’s Twelve Monkeys (1995). His still camerawork is not as well known, but Marker has been taking photographs as long as he has been making films. Staring Back presents 200 black-and-white photographs from Marker’s personal archives, taken from 1952 to 2006.
The Object of Labor explores the personal, political, social, and economic meaning of work in the context of art and textile production. The ubiquity of cloth in everyday life, the historically resonant relationship of textile and cloth to labor, and the tumultuous drive of globalization make the issues raised by this publication of special interest today. The seventeen essays cover topics ranging from art-making practices to labor history and the effects of globalization as seen through art and labor.
Bernd and Hilla Becher's almost fifty-year collaboration constitutes the most important project in objective and conceptual photography today. With this volume, grain elevators join the list of building types documented by the Bechers in their book-length studies: water towers, blast furnaces, gas tanks, oil tanks, mineheads, frame houses, and cooling towers.Grain elevators are towering structures in the flat, vast landscape of the world's granaries.
Bernd and Hilla Becher's lifetime project of documenting the industrial landscape of our time secures their position in the canon of postwar photographers. Their work—at once conceptual art, typological study, and topological documentation—has influenced German photographers of a younger generation, including Thomas Struth, Thomas Demand, Candida Höfer, Thomas Ruff, and Andreas Gursky. This compelling, exhaustively documented biography describes the Bechers' life and work and offers a critical assessment of their place in the history of photography.
With her Untitled Film Stills of the 1970s, Cindy Sherman became one of the era's most important and influential artists. Since then, her metamorphosing self-portraits and appropriation of genres can be seen as a continuous investigation of representation and its complicated relationship to photography. Sherman and her work are often discussed in terms of postmodern theories and ideas that were coming to increasing prominence as her career began-- feminism, subjectivity, mass media, new forms of mechanical reproduction, and even trauma, among others.
For the past two decades Louise Lawler has been taking photographs of art in situ, from small poignant black-and-white images of art in people's homes to large format glossy color pictures of art in museums and in auction houses. In addition she has produced a variety of objects—paperweights, etched drinking glasses, matchbooks, gallery announcements—all of which cleverly describe how art comes to accrue value as it moves through various systems of exchange.