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A Box of Ten Photographs
In 1971, with an advertisement in the June issue of Artforum, Diane Arbus announced the offering of her limited-edition portfolio, A box of ten photographs. At the time of her death, one month later, only four were sold. Two were purchased from Arbus by Richard Avedon; another by Jasper Johns. The last of the four was purchased by Bea Feitler, art director at Harper's Bazaar. Arbus signed the prints in all four sets, and each was accompanied by an overlying vellum sheet inscribed with an extended caption. For Feitler, Arbus added an eleventh photograph. This is the first publication to focus exclusively on A box of ten photographs, using the eleven-print set that Arbus assembled for Feitler....
Louise Dahl-Wolfe
Louise Dahl-Wolfeopens a window onto the work of one of the most influential fashion photographers of the 20th century. After being discovered by Edward Steichen and having her work exhibited at The Museum of Modern Art, New York, in 1937, Dahl-Wolfe went on to revitalize the Hollywood portrait and invigorate the fashion photography of the 1930s, ’40s and ’50s. During her tenure at Harper’s Bazaar—which lasted over two decades, and during which time she worked with Diana Vreeland—Dahl-Wolfe pioneered the use of natural lighting in fashion photography, shooting on location and outdoors. Her modernist outlook changed American visual culture, influencing a school of artists—namely R...
Trevor Paglen
The first volume to present Paglen's early photographic series alongside his recent sculptural objects and new work with AI.
Kodak Girl
This book tells the remarkable story of the Kodak Girl, one of the most durable and successful marketing campaigns in advertising history. Created by George Eastman, inventor of the inexpensive hand-held camera, the Kodak Girl traces the intersection of American culture with photography as it evolved from a studio-bound practice to a snapshot obsession for the masses. Martha Cooper's extensive collection of Kodak Girl material ranges from advertising, by Kodak and other camera manufacturers, to photographs from all periods, engravings, trading cards, matchbooks as well as commemorative stamps and Valentine's Days cards. This rich collection considers the relationship of the Kodak Girl to the birth of the snapshot during the late nineteenth to the mid-twentieth centuries, and is accompanied by two essays on the seminal role of women - on both sides of the camera - in photography's early history.
Man Ray
One of the most famous artists of the twentieth century, a Dadaist and pioneer of Surrealism, Man Ray (1890-1976) became involved with photography in 1914. He was soon experimenting with different processes--solarization, negative images, multiple exposures--and in 1921 he created the "rayograph." This volume collects together the best of his experimental work, as well as portraits of some of the most important figures in modern art. 64 duotone illustrations. About the series: The classic Photofile series brings together the best work of the world's greatest photographers in an attractive format and at a reasonable price. Handsome and collectible, the books are produced to the highest standards. Each volume contains some sixty full-page reproductions printed in superb duotone, together with a critical introduction and a full bibliography. Now back in print, the series was awarded the first annual prize for distinguished photographic books by the International Center of Photography.
Thomas Florschuetz
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First Color
Following Inge Morath¿s death in 2002, nearly 10.000 hitherto unknown color originals were recovered from storagein Paris and New York. This body of images, together with Morath¿s known archive of color material, reveals thedevelopment of a distinct sensibility. Inge Morath was undoubtedly influenced by the legendary hostility of hercolleague, Henri Cartier-Bresson, to color photography. Morath¿s own ambivalence is reflected in the contradictionbetween the sheer volume of color film that she exposed and its absence from her exhibited and published works. Hercolor vision, already strong in her photographs of gypsy encampments in Ireland in 1954, matured in the late 1950s,during her documentation of the Middle East, in 1956, and Romania, where she worked in 1958. From the '60s on,Morath employed color as a central element within her documentary narratives. Filling in a significant lacuna in her previously published work, First Color is an examination of Morath¿s first decade of work in color, and is drawn largely from the trove of posthumously recovered material.
Chimaera
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