criticism photography

Hardcover. New York, NY, Rizzoli International Publications, 1st, 2016, Book: Very Good, Dust Jacket: Very Good, 304 pages. Hardcover with no dust jacket. Very clean, like new in publishers shrink-wrap. Martine Sitbon has become an icon among designers and fashionistas, earning her praise from Karl Lagerfeld as being "the only living French designer." With never-before-seen sketches and photographs, this book allows readers to gain a better understanding of the designer's personal universe and inspirations that have until now been largely hidden from view.

Hardcover. Flammarion, 1st, 2012, Book: Very Good, Dust Jacket: Very Good, Hardcover, 448 pages. This elegant, large-format volume presents twenty masters of photography via 300 extraordinary authorial photographs, providing a broad yet accessible overview of twentieth-century photography. From Man Ray's pioneering experimentations to the elegant and provocative fashion shots of Helmut Newton and Herb Ritts, the twenty master photographers featured in this handsome tome are masters of their craft across different photographic genres, from reportage and documentary to art and portraiture to fashion and glamour photography. A portfolio for each photographer features a selection of their legendary images, an introduction to the photographer's oeuvre, a brief biography, and commentary on each of the featured photographs. The volume features a striking, elegant design and large format, bringing these iconic photographs into sharp focus.Master Photographers features the work of Araki Nobuyoshi, Gabriele Basilico, Margaret Bourke-White, Robert Capa, Henri Cartier-Bresson, Robert Doisneau, Elliott Erwitt, Walker Evans, Mario Giacomelli, Mimmo Jodice, William Klein, Peter Lindbergh, Man Ray, Robert Mapplethorpe, James Nachtwey, Helmut Newton, Martin Parr, Herb Ritts, Sebastiao Salgado, and August Sander.

Hardcover. NY, Aperture, 1st, 1978, Book: Very Good, Dust Jacket: Very Good, Hardcover, 143 pages. Minor White was one of the twentieth century's most influential B&W art photographers. Rites & Passages, is a compilation of his writings and photographs, with a biographical essay by James Baker Hall. The book is well writen and edited, and is a significant insite into the thoughts and motivations of a great artist. With a generous number of stunning photographs, expertly printed on quality paper, it is a book worthy of any discriminating collection.

Softcover. NY, The Museum of Modern Art, 1st pbk., 1978, Book: Very Good, Dust Jacket: None, Softcover, oblong format, 152 pages. 127 plates, 17 in color. Photographs by eighty-four artists, including such established figures as Paul Caponigro, Judy Dater, Lee Friedlander, Joel Meyerowitz, Helen Levitt, and Garry Winogrand, as well as various artists who were less known at the time such as Gary Beydler, Frank Gohlke, Robert Mapplethorpe, Richard Misrach, and Eve Sonneman. Clean copy.

Hardcover. US, Museum of Photographic Arts, 1st, 2008, Book: Very Good, Dust Jacket: Very Good, 240 pages. Hardcover with dust jacket. Clean, tight copy. Black and white photographs throughout. This publication is the first comprehensive survey of Nancy Newhall, a prolific writer and major contributor to the history of photography. During the first half of the twentieth century, Newhall helped define photography and was one of the first to write about visual literacy- the importance of reading images and how text can change their meaning. Using her skills as designer, editor and collaborator, Nancy Newhall helped shape the concept of the modern photographic book. A Literacy of Images celebrates the 100th anniversary of her birth, exhibiting her photographs (many for the first time) and the work of her circle of friends, including well-known photographers such as Ansel Adams, Paul Strand, Helen Levitt and Edward Weston.

Hardcover. New York, Farrar, Straus and Giroux, 1st Edition, 1977, Book: Very Good, Dust Jacket: Very Good, 207 pages. Hardcover. Cover boards bound in dark gray cloth, gilt title on spine. Some light fading to covers at top and bottom of spine (shelfwear). Gray endpapers. Dust jacket price-clipped, some light tanning and chipping to edges of dj (see image). Pages clean and unmarked. Foreedge has some light spots of soil and a touch of tanning (see image). Binding tight. Spine straight. Sontag examines a wide range of problems, both aesthetic and moral, raised by the presence and authority of the photographed image in the lives of everyone today. Appendix "A Brief Anthology of Quotations" included.

Hardcover. NY, The New Press, 1st, 1999, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright, unclipped dust jacket, 182 pages, b&w illustrations. Lucy R. Lippard weaves together cultural criticism, anthropology, and community activism for an in-depth look at how tourism sites are conceived and represented, and how they affect the places they transform. Critic Andrew Ross calls Lippard "the most surefooted tour guide you could hope for" in her exploration of being a tourist in one's own home, of how advertising and photography define place, of how antique shops function as populist museums, and of the commodification of indigenous cultures. With her characteristic breadth and critical eye, Lippard discusses the political economies of leisure spaces, the tourist's fascination with tragic destinations (such as the sites of massacres and nuclear weapons tests, or Holocaust memorials), and our willingness to let national parks and heritage sites define nature and history. Clae copy.

Hardcover. Jackson MS, University Press of Mississippi, 1st, 2014, Book: Very Good, Dust Jacket: None, Like new in publisher's shrink-wrap. Hardcover, 168 pages. In The Origins of Comics: From William Hogarth to Winsor McCay, Thierry Smolderen presents a cultural landscape whose narrative differs in many ways from those presented by other historians of the comic strip. Rather than beginning his inquiry with the popularly accepted "sequential art" definition of the comic strip, Smolderen instead wishes to engage with the historical dimensions that inform that definition. His goal is to understand the processes that led to the twentieth-century comic strip, the highly recognizable species of picture stories that he sees crystallizing around 1900 in the United States. Featuring close readings of the picture stories, caricatures, and humoristic illustrations of William Hogarth, Rodolphe Topffer, Gustave Dore, and their many contemporaries, Smolderen establishes how these artists were immersed in a very old visual culture in which images--satirical images in particular--were deciphered in a way that was often described as hieroglyphical. Across eight chapters, he acutely points out how the effect of the printing press and the mass advent of audiovisual technologies (photography, audio recording, and cinema) at the end of the nineteenth century led to a new twentieth-century visual culture. In tracing this evolution, Smolderen distinguishes himself from other comics historians by following a methodology that explains the present state of the form of comics on the basis of its history, rather than presenting the history of the form on the basis of its present state. This study remaps the history of this influential art form.

Softcover. Bristol UK, Intellect, 1st, 2012, Book: Very Good, Dust Jacket: None, Softcover, 255 pages. With a focus on the settler societies of the United States and Australia, Photography and Landscape is a new critical account of landscape photography created through a unique collaboration between a photography writer and a landscape photographer. Beginning with the frontier days of the American West, the subsequent century-long popularity of landscape photography is exemplified by images from Carleton Watkins to Ansel Adams, the New Topographics to Richard Misrach, all of whose works are considered here. Along with discussions of other contemporary photographers, this extensively illustrated volume demonstrates the influence of settler societies on landscape photography, in which skilled photographers captured the fascination with and the appeal of the land and its expanse. Clean copy.

Hardcover. Boston, J. Paul Getty Museum, 1st, 2012, Book: Very Good, Dust Jacket: Very Good, 112 pages. Hardcover with dust jacket. Very clean, unmarked copy with only minor edgewear. Featuring eighty-seven photographs, all drawn from the collection of the J. Paul Getty Museum, that span nearly 150 years of image making.

Softcover. Duke University Press, 1st, 2017, Book: Very Good, Dust Jacket: None, Softcover, 381 pages, color and b&w illustrations. Photography is one of the principal filters through which we engage the world. The contributors to this volume focus on Walter Benjamin's concept of the optical unconscious to investigate how photography has shaped history, modernity, perception, lived experience, politics, race, and human agency. In essays that range from examinations of Benjamin's and Sigmund Freud's writings to the work of Kara Walker and Roland Barthes's famous Winter Garden photograph, the contributors explore what photography can teach us about the nature of the unconscious. They attend to side perceptions, develop latent images, discover things hidden in plain sight, focus on the disavowed, and perceive the slow. Of particular note are the ways race and colonialism have informed photography from its beginning. The volume also contains photographic portfolios by Zoe Leonard, Kelly Wood, and Kristan Horton, whose work speaks to the optical unconscious while demonstrating how photographs communicate on their own terms. The essays and portfolios in Photography and the Optical Unconscious create a collective and sustained assessment of Benjamin's influential concept, opening up new avenues for thinking about photography and the human psyche. Clean, bright copy.

Hardcover. Boston, J. Paul Getty Museum, 1st, 2011, Book: Very Good, Dust Jacket: Very Good, 112 pages. Hardcover with dust jacket. Very clean, unmarked copy still in publishers shrink-wrap. Photography as Fiction includes seventy-six color plates illustrating works from the J. Paul Getty Museum's collection that embrace theatricality and are unconcerned with documenting the world as it exists.

Hardcover. US, The MIT Press, 1st, 2000, Book: Very Good, Dust Jacket: Very Good, Like new in publisher's shrink-wrap. Remainder mark on top page block. Boston played a crucial role in the development of American photography, including criticism, collecting, and curating, in the second half of the twentieth century. This book accompanies a landmark exhibition at the DeCordova Museum that includes such important American artists as Berenice Abbott, Harry Callahan, Paul Caponigro, Marie Cosindas, Harold Edgerton, Nan Goldin, Jerome Liebling, Nicholas Nixon, Barbara Norfleet, Olivia Parker, Rosamond Purcell, Aaron Siskind, and Minor White.The period from 1955 to 1985 reflects photography's acceptance as an art form, the influence of modernism, and the coalescence of a unique constellation of educational institutions, museums, and technological development in the Boston area that directly influenced artistic options for photography. Minor White's arrival at the Massachusetts Institute of Technology in 1965 to run the Center for Creative Photography and the Polaroid Corporation's innovative support of photographic art suggest how developments built upon one another to create a regional critical mass in photography.The book contains twenty-five color plates, sixty duotones, and essays by A. D. Coleman, Rachel Rosenfield Lafo, Arno Rafael Minkkinen, and Kim Sichel.

Hardcover. US, The MIT Press, Book: Very Good, Dust Jacket: Very Good, Like new in publisher's shrink-wrap. Remainder mark on top page block. Boston played a crucial role in the development of American photography, including criticism, collecting, and curating, in the second half of the twentieth century. This book accompanies a landmark exhibition at the DeCordova Museum that includes such important American artists as Berenice Abbott, Harry Callahan, Paul Caponigro, Marie Cosindas, Harold Edgerton, Nan Goldin, Jerome Liebling, Nicholas Nixon, Barbara Norfleet, Olivia Parker, Rosamond Purcell, Aaron Siskind, and Minor White.The period from 1955 to 1985 reflects photography's acceptance as an art form, the influence of modernism, and the coalescence of a unique constellation of educational institutions, museums, and technological development in the Boston area that directly influenced artistic options for photography. Minor White's arrival at the Massachusetts Institute of Technology in 1965 to run the Center for Creative Photography and the Polaroid Corporation's innovative support of photographic art suggest how developments built upon one another to create a regional critical mass in photography.The book contains twenty-five color plates, sixty duotones, and essays by A. D. Coleman, Rachel Rosenfield Lafo, Arno Rafael Minkkinen, and Kim Sichel.

Softcover. NY/London, Routledge, reprint, 2007, Book: Very Good, Dust Jacket: None, Softcover, 470 pages. Forty of the world's most active art historians and theorists, including Victor Burgin, Joel Snyder, Rosalind Krauss, Alan Trachtenberg, Geoffrey Batchen, Carol Squiers, Margaret Iversen and Abigail Solomon-Godeau in animated debate on the nature of photography. Photography has been around for nearly two centuries, but we are no closer to understanding what it is. For some people, a photograph is an optically accurate impression of the world, for others, it is mainly a way of remembering people and places. Some view it as a sign of bourgeois life, a kind of addiction of the middle class, whilst others see it as a troublesome interloper that has confused people's ideas of reality and fine art to the point that they have difficulty even defining what a photograph is. For some, the whole question of finding photography's nature is itself misguided from the beginning. This provocative second volume in the Routledge The Art Seminar series presents not one but many answers to the question what makes a photograph a photograph? Clean copy.

Hardcover. NY, Rizzoli, 1st, 1996, Book: Very Good, Dust Jacket: Very Good, Hardcover, 208 pages. Pictorial photography is noted for its artistic expressiveness, careful design and composition, and muted focus. In 1914 Clarence White (1871-1925) left Alfred Stieglitz's Photo-Secession group, abandoned his ambitions to be a photographic illustrator, and opened the Manhatten-based Clarence H. White School of Photography. Lecturers at his school included Stieglitz, Paul Strand, and Edward Steichen. White's unique teaching skills, especially his encouragement of women students, nurtured the careers of such talented photographers as Margaret Bourke-White, Laura Gilpin, and Dorothea Lange. Presented by the Detroit Institute of Arts and the George Eastman House, this companion volume for a traveling exhibition contains the elegant photographic imagery of White and his students. The clear text by two photography curators imparts how the revered teacher's romantic pictorialism became the foundation for the student's avant-garde modernism. By far the most substantial review of White's work and influence in print.

Hardcover. US, Univ of New Mexico Press, 1st, 1995-10-01, Book: Very Good, Dust Jacket: Very Good, 227 pages. Minor edgewear to dust jacket, else a clean, tight copy. A in depth study of the exhibition held at the Museum of Modern Art in 1955, and its influence, with a final chapter on "Edward Steichen, Robert Frank and American Modernism".

Softcover. London/NY, I. B. Tauris & Company, 1st, 2003, Book: Very Good, Dust Jacket: None, Softcover, 354 pages, b&w illustrations. The advent of photography opened new worlds to 19th-century viewers, who became able to visualize themselves, their immediate surroundings, their communities, and the world beyond. The geographical imagination--the ability to know the world and situate oneself in space and time--fostered the expectations and applications of photographic technologies, and photographic technologies expresses the form and reach of the geographical imagination. This dialectic is the basis of this collection of intriguing essays, which explore the diverse ways in which the relationship manifested.

Hardcover. New York, Abbeville Press, 1st, 1991, Book: Very Good, Dust Jacket: Very Good, 279 pages, hardcover with dust jacket. B&w illustrations throughout. SIGNED BY AUTHOR on title page. Mild wear to dust jacket top edge. Light fading to top boards. Foxing and faint soiling to text block. A bright and tight copy.

Softcover. Germany, Steidl, 1st, 2015, Book: Very Good, Dust Jacket: None, 224 pages. Softcover. Very clean, unmarked copy still in publishers shrink-wrap. Adieu Saigon covers a varied range of imagery from Saigon, where Depardon photographed two wars and, on visits as recent as 2014, the unrecognizable, globalized city now called Ho Chi Minh. Depardon's work bears witness to a city in transition.

Softcover. Germany, Steidl, 1st, 2015, Book: Very Good, Dust Jacket: None, 224 pages. Softcover. Very clean, unmarked copy still in publishers shrink-wrap. Adieu Saigon covers a varied range of imagery from Saigon, where Depardon photographed two wars and, on visits as recent as 2014, the unrecognizable, globalized city now called Ho Chi Minh. Depardon's work bears witness to a city in transition.

Hardcover. New York, Thames and Hudson, 3rd Revised, 1988, Book: Very Good, Dust Jacket: Very Good, 285 pages. Hardcover with dust jacket. Minor yellowing to dust jacket edges and spine. Previous owners inscription in pen to top edge of front flyleaf. An otherwise very clean, unmarked copy with only minor edgewear. 206 photographs, 16 in color. Follows the developments in the art and science of photography from the invention of the wet-collodion process through the evolution of dry plates.

Hardcover. Germany, Steidl, 1st, 2010, Book: Very Good, Dust Jacket: None, 160 pages. Hardcover with no dust jacket. Very clean, unmarked copy still in publishers shrink-wrap. Over 100 black and white photographs. Tight copy.

Hardcover. Germany, Steidl, 1st, 2010, Book: Very Good, Dust Jacket: None, 160 pages. Hardcover with no dust jacket. Very clean, unmarked copy still in publishers shrink-wrap. Over 100 black and white photographs. Tight copy.