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Christopher Ander
Son presents a very personal body of work from Magnum photographer Christopher Anderson, who has earned international acclaim for his documentary work from conflict zones all over the world. Following the birth of his son he stepped away from war photography and his work turned towards an intimate reflection: 'These photographs are an organic response to an experience that is at the same time the most unique and the most universal of experiences: the birth of a child. They are a record of love and a reflection on the seasonal nature of life' - Christopher Anderson
APPROXIMATE JOY.
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Christopher Anderson: Stump
As one of today's most influential political photographers, Christopher Anderson has enjoyed rare behind-the-scenes access to the inner workings of American political theater. Stump collects his color and black-and-white photographs from recent campaign trails--particularly from the 2012 Obama/Romney contest--that scrutinize the highly rehearsed rhetorical masks of, among others, Barack and Michelle Obama, Mitt Romney, Paul Ryan, Newt Gingrich, Bill Clinton and others (including audience members at rallies). Removed from the context of reportage and sequenced here, these images accumulate a mesmerizing quality that is both frightening and hilarious. They are interspersed with other campaign-trail images, of fireworks, flags and other props of high pomp that attend such occasions. John Heilemann, author of the New York Times bestseller Game Change (on the 2008 presidential race), contributes an essay on Anderson's work.
Christopher Anderson
Christopher Anderson (*1970, Kelowna, Canada), a member of Magnum Photos, is one of the most infl uential contemporary photographers. He fi rst gained recognition in 1999 when he boarded a small boat with 44 Haitian immigrants trying to sail to the United States. The boat sank in the Caribbean. For these images, he received the Robert Capa Gold Medal. Since then, Anderson's work has defi ed categorization as he slips between the worlds of documentary, art, commercial and fashion photography. He was New York Magazine's fi rst ever "Photographer in Residence" and won the World Press Photo contest in 2007 and 2008. The images in Bleu Blanc Rouge, taken in the United States, France, Italy, Spain, and Germany, include portraits, candid moments, and still lifes. Recurring visual elements as the color red, forms and patterns, or a certain light tie the images together to a playful and poetic series. Presented in a magazine-like style, the particular intimacy of Anderson's images enchants the viewer in an instant.
Nonfiction
Colorful and stylish images--taken with a toy camera--presented in a beautifully designed white box.
Hollywood TV
The 1950s was one of the most turbulent periods in the history of motion pictures and television. During the decade, as Hollywood's most powerful studios and independent producers shifted into TV production, TV replaced film as America's principal postwar culture industry. This pioneering study offers the first thorough exploration of the movie industry's shaping role in the development of television and its narrative forms. Drawing on the archives of Warner Bros. and David O. Selznick Productions and on interviews with participants in both industries, Christopher Anderson demonstrates how the episodic telefilm series, a clear descendant of the feature film, became and has remained the dominant narrative form in prime-time TV. This research suggests that the postwar motion picture industry was less an empire on the verge of ruin—as common wisdom has it—than one struggling under unsettling conditions to redefine its frontiers. Beyond the obvious contribution to film and television studies, these findings add an important chapter to the study of American popular culture of the postwar period.
Brothers and Wives
In 'The Brothers', the long-awaited follow-up to the 2001 bestseller 'Diana's Boys', Christopher Andersen picks up where 'Diana's Boys' left off and shows William and Harry navigating their relationship as adults, with one brother the designated heir, and the other doomed to life as the spare.
