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Chris Verene
For the past thirteen years, young American artist Chris Verene has carefully documented the strange and yet oddly familiar world of his family and friends. Verene's lush color images reveal freakishly beautiful stories of simple daily joys and troubling family secrets. Curators, critics, and museums from Atlanta to New York and Europe are exhibiting and discussing his moving portrayal of family, love, youth, and aging. The geography of Chris Verene's color photography is primarily social, though the landscape is always a presence. Whether he is following his relatives around the dilapidated environs of Galesburg, Illinois, or locked in a suburban bedroom with five members of his "Camera Club" photographing a half-dressed woman draped over a bed, Chris Verene innerves us with a vision of daily life at once bizarre and banal. His high-key colors and composition occupy a terrain somewhere between William Eggleston and Nan Goldin. This is the artist's first book.
The Theatre of the Face
An engaging history of portrait photography by one of the world's leading critics. An engaging and authoritative commentary on the history of portrait photography by one of the world's leading photography critics, this book provides a new perspective on the history of the medium through examining the personalities both behind and in front of the camera, as well as the fascinating relationship between photographer and subject as revealed through the genre. It covers a broad range of styles and movements from early portraitists such as Edward Sheriff Curtis to the well-known work of seminal figures including Diane Arbus, Richard Avedon and August Sander, as well as contemporary portraiture by Thomas Ruff, Philip Lorca diCorcia and Cindy Sherman. This book will be an essential title for critics, students of photography, photography enthusiasts, or anyone with a general interest in portraiture.
Shoot the Family
"Family photographs are a universally familiar genre, and an intimate one, which makes this collection an accessible entry point for its deceptively simple but deeply complex social and representational issues. In turning their cameras on their own households,17 artists including Miguel Calder*n, Ari Markopoulos, Chris Verene and Gillian Wearing consider the family as a dynamic social institution, and confirm, if there was any doubt, that its affairs are never simply personal, but rather are entwined with and illustrative of broader historical, anthropological and economic considerations. Using the languages of snapshots, documentary and staged photography, as well as conceptual and performa...
The Photographer's Playbook
"Features photography assignments, ideas, stories, and anecdotes from many of the world's most talented photographers and photography professionals"--Cover.
The Mushroom Collector
This publication reissues a beloved photobook classic--acknowledged as such by Martin Parr and Gerry Badger in the third volume of The Photobook: A History--that has been out of print since the hardcover edition was published in 2010. As photographer Jason Fulford (born 1973) recently learned firsthand, mushrooms have a way of growing and spreading wherever they touch ground. It all started when a friend of Fulford's gave him a box, found at a flea market, full of photos of mushrooms--unassuming pictures taken by an unknown but almost certainly amateur photographer, apparently as notes for some mycological studies. Fulford's art photographs (aside from his well-known book Dancing Pictures, which depicted people getting down to their favorite songs) are usually of staid, quasi-mute objects: a smashed Dorito chip overrun with ants, two bronzed doorknobs spooning, the blank back of a street sign. Yet these mushroom images got stuck in Fulford's mind, like a bad song sometimes does, and they started to grow in his own work. The Mushroom Collector combines some of the original flea-market mushroom pictures with his own images and text by the artist about the project.
The Cambridge Handbook of Psychology and Human Rights
Written by psychologists, historians, and lawyers, this handbook demonstrates the central role psychological science plays in addressing some of the world's most pressing problems. Over 100 experts from around the world work together to supply an integrated history of human rights and psychological science using a rights and strengths-based perspective. It highlights what psychologists have done to promote human rights and what continues to be done at the United Nations. With emerging visions for the future uses of psychological theory, education, evidence-based research, and best practices, the chapters offer advice on how to advance the 2030 Global Agenda on Sustainable Development. Challenging the view that human rights are best understood through a political lens, this scholarly collection of essays shows how psychological science may hold the key to nurturing humanitarian values and respect for human dignity.
Exposed
Catalogue published in conjunction with an exhibition held at the Tate Modern, London, May 28 to October 3, 2010; San Francisco Museum of Modern Art, October 30, 2010 to April 17, 2011; and Walker Art Center, Minneapolis, May 21 to September 11, 2011.
Life as a Night Porter
Chris Shaw spent ten years working in London hotels, all the while using his camera to both document the hotels' unexpected human spectacles and keep himself awake through the long hours of his shift. Whether capturing prostitutes waiting between "Johns," weary hotel staff, the inebriated and profligate guests, or the details of the hotels' faded grandeur, Shaw's images transcend the physical boundaries of a place, and instead capture a state of mind in which few people would choose to stay more than a night. The thing I like most about the pictures is the large element of what I call the "chance meeting," the times I was so tired I lost the artifice and techniques of photography. I just took photographs to keep me awake. It became artless. The people I photographed, these episodes in the social fantastic would heighten and illuminate my whole night, often making a difficult job and my twelve-hour shift bearable.
An Afternoon in Astoria
In February 1940, Rudy Burckhardt spent an afternoon in Astoria, Queens, photographing the streets of the neighborhood, its gas stations, cars, children at play and other everyday scenes. Burckhardt later mounted a group of the photographs in a spiral-bound album, and wrote on the cover, in neatly printed letters, "An Afternoon in Astoria." This handmade book, unpublished until now, composes a tour of this part of New York, its empty lots and abandoned cars made poetic by Burckhardt's eye. The Museum of Modern Art recently published An Afternoon in Astoria and has also produced a limited-edition, boxed, spiral-bound facsimile of the original handmade album. An immaculately produced clothbound box with tipped-in reproductions from the book inside-and-out contains the album facsimile and a separately bound essay by Sarah Hermanson Meister, Associate Curator in the photography department of the Museum, discussing Burckhardt and specifically the groups of photographs he bound into albums for the pleasure of himself and his friends.
Too Tired for Sunshine
In Too Tired for Sunshine, Tara Wray confronts depression by documenting the beauty, darkness, and absurdity of everyday life. Drawn from daily life and wanderings, the photos explore loneliness and isolation, as seen through a lens of absurdist dark humor. Too Tired for Sunshine puts a fine point on channeling the pain into creative expression. We are both witnessing the process and experiencing the result. Tara Wray takes us on a visual and emotional journey with disarming humor that lets us lean in to the sadness a bit.
