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“A sentimental, written and photographic journey through time to the essence of surfing, the art of riding waves.”
“Deambulações, a visual document exhaling sublime stories and images accessible uniquely to those searching for places and experiences beyond the obvious.”- Bernardo Mendonça in Expresso
Dear Edward: Family Footprints is a personal journey into the family archives of photographer Paul Weinberg. The book explores his past as he retraces his family footprints in South Africa.
Out of stockFor more than a decade, a Johannesburg garage held a marvellous secret: an archive of over 1,400 photographic negatives produced by Kitty’s Studio in Pietermaritzburg between 1972 and 1984. Poor and working-class patrons ”classified by the apartheid government as African, Indian and coloured” came there to be photographed by Singarum Jeevaruthnam Moodley (1922-1987), a.k.a. Kitty, and members of his family.
Art photography meets popular culture in this behind-the-scenes look at the making of a hugely successful music video by musicians Die Antwoord and photographer Roger Ballen.
The Silk Road is not a place, but a journey, a route from the edges of the Mediterranean to the central plains of China, through high mountains and inhospitable deserts.
The names Elizabeth Eckford and Hazel Bryan Massery may not be well known, but the image of them from September 1957 surely is: a black high school girl, dressed in white, walking stoically in front of Little Rock Central High School, and a white girl standing directly behind her, face twisted in hate, screaming racial…
Through extensive interviews with former members, and rich visual and archival material (from the archive now housed in the Documentation Centre for Music at Stellenbosch University), this book, the first on the history of the Eoan group, makes a unique contribution to South African music history. It illustrates not only how difficult it was for…
In this book, Terry Kurgan begins with a family snapshot made by her Polish grandfather in 1939 on the eve of the war. Presenting this evocative image as a repository of multiple histories public, private, domestic, familial, and generational she sets off on a series of meditations on photography that give us startling insights into how photographs work: what they conceal, how they mislead, what provocations they contain. Each essay takes up the thread of the story of her family’s epic journey across Europe as they flee Nazi occupation, until they reach Cape Town. Kurgans essays are part memoir, part travelogue, part analysis, and they demonstrate her sophisticated understanding of a medium that has long engaged her as an artist.
The photographic industry – its exhibitions, galleries, publications and auctions – employs thousands of women, but champions mostly men. To begin to redress the balance, here is a timely presentation of the work of over 30 female photographers working today. This book is predominantly a celebration of some of the most inquisitive, intelligent and daring photography being created now. The stories the photographers tell are the most pressing social, political and personal issues seen through the female lens.
A ?op house, a pumping station, a maid’s room, a homeless center, a former brothel, a Richard Meier building, a circus trailer, a sail boat, a skyscraper, buildings named Esther and Loraine just a few of the places New Yorkers call home.
This book is as much about the author’s concerns that a generation who have only known freedom will forget or never even understand the great price it took top gain our freedom, as it is about the men and women, the often forgotten heroes and heroines who showed their ultimate commitment to their ideals.
Czech photographer Frantisek Drtikol (1883-1961) reinvented the genre of nude photography for the early twentieth century. Drtikol opened his Prague studio in 1907, and his nudes from this early period convey the dreamy eroticism of Art Nouveau and the foreboding accents of Prague Symbolism that he was to return to throughout his somewhat brief career (Drtikol abandoned photography for painting in 1935, and it was not until curator Anna Farova’s now legendary 1972 Prague exhibition that this work was rediscovered by a broader public).
Gabriel Orozco, born in Mexico, in 1962, is one of the most influential artists of his generation. Dividing his time between Mexico City, Paris and New York, his constant travelling has been as much a part of his artistic practice as a lifestyle. His works, often playful and characterised by an ironic humour, range from…
To accompany Gary Schneider’s exhibition, Skin, at David Krut Projects in 2011, a catalogue was produced in which Kate McCrickard addresses Schneider’s methods and techniques. It is a valuable resource towards understanding the photographer’s work.
Deborah Martin Kao discusses Schneider’s re-presentation of nineteenth-century studio portraits, his handprint photograms, and his fragmented face portraits—all of which reveal as much about the language of photography as they do about the subjects being depicted. She shows how Schneider portrays the collaboration between artist and subject, seen in his use of a light pen to sculpt or trace his subjects over long exposures, and in his prints that display traces of movement in time. Kao also discusses Schneider’s work with scientists to create negatives from which he makes strikingly beautiful images of blood, DNA, and strands of hair, and how these represent a fascinating evolution in traditional thinking about the nature of photographic portraiture.
In this previously unpublished body of work, Gary Schneider presents a haunting series of nudes and faces that emerge and seem to float above a receding black ground. Each image is rendered through a long exposure and by exploring the surfaces of the skin with a small handheld light. Due to the prolonged time required and the inevitable movements and consequent distortions that occur in the process, the results both reveal and obscure the intimate physical details and personality of the individual who poses.
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