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Mario Garcia Joya: a la Plaza Con Fidel
Mario García Joya's A La Plaza con Fidel (To the Plaza with Fidel) is a rarity among the few photobooks to come out of Cuba after the Revolution. Photographed by the leading Cuban photographer and cinematographer 'Mayito' (Mario Garcia Joya) between 1959 and 1966 and later published in 1970, the book focuses its attention towards the vast crowds of Castro's supporters and the festive atmosphere surrounding the revolution felt even at a time of the country's more difficult economic moments. Books on Books #21 presents this little known book in its entirety with essays by historian Leandro Villaro.
Yoga Anatomy
"Your illustrated guide to postures, movements, and breathing techniques"--Cover.
A la Plaza Con Fidel
Mario García Joya's A La Plaza con Fidel (To the Plaza with Fidel) is a rarity among the few photobooks to come out of Cuba after the Revolution. Photographed by the leading Cuban photographer and cinematographer 'Mayito' (Mario Garcia Joya) between 1959 and 1966 and later published in 1970, the book focuses its attention towards the vast crowds of Castro's supporters and the festive atmosphere surrounding the revolution felt even at a time of the country's more difficult economic moments. Books on Books #21 presents this little known book in its entirety with essays by historian Leandro Villaro.
The Insubordination of Photography
Latin American Studies Association Visual Culture Section Best Book Prize Latin American Studies Association Historia Reciente y Memoria Section Best Book Prize The role of documentary photography in exposing and protesting the crimes of a dictatorship After Augusto Pinochet rose to power in Chile in 1973, his government abducted, abused, and executed thousands of his political opponents. The Insubordination of Photography is the first book to analyze how various collectives, organizations, and independent media used photography to expose and protest the crimes of Pinochet’s authoritarian regime. Ángeles Donoso Macaya discusses the ways human rights groups such as the Vicariat...
Before Bemberg
Before Bemberg: Argentine Women Filmmakers calls into question the historiography of Argentine women filmmakers that has centered on María Luisa Bemberg to the exclusion of her predecessors. Its introductory discussion of the abundant initial participation by women in film production in the 1910s is followed by an account of their exclusion from creative roles in the studio cinema, which was only altered by the opportunities opened by a boom in short filmmaking in the 1960s. The book then discusses in depth the six sound features directed by women before 1980, which, despite their trailblazing explorations of the perspectives of female characters, daring denunciations of authoritarianism an...
Scene in a Library
"In 2019, Bartley spent six weeks at Penumbra making hundreds of prints, using a toner-based copier machine. All images were forged using the Taubman collection of 19th and early 20th century photographic manuals, treatises, and monographs, housed at the Foundation's location in New York City. In her image-making process, Mary Ellen Bartley playfully explored the possibilities that the surface of these historical objects offer, both visually and tactilely."--Provided by publisher
CLAP! 10×10 Contemporary Latin American Photobooks: 2000-2016
A photobook anthology that documents CLAP!, a traveling reading room exhibition of 130 contemporary Latin American Photobooks from 2000 to 2016. Selected by Latin American specialists, the books presented offer a range of twenty-first century Latin American photobooks that are rarely seen or available outside the region. The books in CLAP! represent many of the most exciting innovations in Latin American photography and publications. Copiously illustrated and indexed, the publication provides full color spreads and detailed bibliographic information for 130 photobooks. Paris Photo – Aperture Photography Catalogue of the Year Shortlist 2018 Walter Tiemann Prize Shortlist 2018
The photobook world
This volume sets out to challenge and ultimately broaden the category of the ‘photobook’. It critiques the popular art-market definition of the photobook as simply a photographer’s book, proposing instead to show how books and photos come together as collective cultural productions. Focusing on North American, British and French photobooks from 1920 to the present, the chapters revisit canonical works – by Claudia Andujar and George Love, Mohamed Bourouissa, Walker Evans, Susan Meiselas and Roland Penrose – while also delving into institutional, digital and unrealised projects, illegal practices, DIY communities and the poetic impulse. They throw new light on the way that gendered, racial or colonial assumptions are resisted. Taken as a whole, the volume provides a better understanding of how the meaning of a photobook is collectively produced both inside and outside the art market.
