Jacques Henri Lartigue (1894-1986) was the best-known "amateur" in the history of photography, famously discovered by the art world and given an exhibition at MoMA in New York when he was in his late sixties. He began by recording the pastimes and customs of his wealthy Parisian milieu, indulging his fascination with sports and aviation, and throughout his long life he was never without his camera. His friendships extended to the superstars of French culture, but he also made thousands of photographs of his family, wives, and lovers. His work was irresistibly warm and engaging. Although known for his black-and-white work, Lartigue loved color film, experimenting with the Autochrome process in the teens and twenties and embracing Ektachrome in the late 1940s. His color work, reproduced here for the first time, is astonishingly fresh: the French countryside, the women in his life, famous friends (Picasso, Fellini), and glimpses from his travels all come alive in this delightful book.
The creator of radical and poetic work, Boris Mikhailov focuses his camera on people's everyday life, capturing both the social and historical conditions in the Soviet Union and the changes that occurred after 1989, with the breakdown of order in the Ukraine. In the 1970s, Mikhailov started to photograph "life the way it is." He dealt with the "city without a main street," the anti-heroic, the incidental, the private sphere and leisure time in the Soviet Union. His book Case History, a heart-wrenching monument to the forgotten losers of system change, documented the plight of the homeless in the Ukraine after the collapse of the Soviet Union. The critical aspects of his photographs, provocative performances and combinations of words and images make Mikhailov a conceptual documentary artist who creates moving images of the wounded human soul--simultaneously full of humor and seriousness. This book is dedicated to Mikhailov's entire oeuvre. Essays on individual works and periods run together with a flow of images to underline his different photographic techniques and to deepen our understanding of a rich work that intentionally seems unspectacular. Created in collaboration with Fotomuseum Winterthur.
First published in 1991,The History of Photographyexplores the people, technology, and imagery that have made photography such a tremendous force in modern culture. As technology has improved, the level to which society depends upon photography increases. Over the past 150 years, photographers and their works have taught, inspired, angered, and spurred several generations toward social and political action. This interdependence between society and the photographic image continues to strengthen and evolve. This book develops specific themes from pre-photography to the present. The reader will develop a deeper understanding of how major photographers have viewed their work, how attitudes toward photography have changed, and how photography has influenced world perceptions and events.
Collects many highlights of Karsh's career, one hundred iconic portraits in all. The introductory essay by David Travis takes serious critical stock of the importance of Karsh's work and his place in the pantheon of major portrait artists. Rounding out the volume are brief biographical essays on each subject that include Karsh's own perceptive comments about his experience. From publisher description.
The role of space and place in the creation of visual narratives constitutes one of the most dynamic and exciting debates in contemporary film studies. How does film construct space? What are the spatial codes and strategies that it uses? What is the relationship between space and time in film? How do spatial constructs enable us to understand new concepts of identity and the politics and geographies of exile and displacement? Such questions, whose importance to contemporary film and culture is fundamental, are explored in wide-ranging, challenging essays that re-evaluate and extend recent theoretical debate in relation to the regional and national cinemas of Europe. Alongside critical essays by scholars of international repute the book contains original contributions by practising film directors. Characterised by its interdisciplinary, cross-national focus, it is thematically structured to provide an insight into smaller and less well-explored cinemas as well as those of Britain, France, Germany, Italy, Russia and Spain. Authoritative, lively, and jargon-free, these essays provide the reader with a clear understanding of the significance of space and place, and a fresh perspective on the fascinating diversity of European cinema.
Jacques-Henri Lartigue (1894-1986), celebrated photographer, and one of the greatest practitioners the medium has ever known, discovered the Riviera with his first camera in the company of his wealthy family when he was just eleven years old. For the rest of his life Lartigue was a regular visitor to the Cote d'Azur, taking many of his finest pictures in Nice, Cannes, Cap d'Ail, Antibes, Menton, and Monaco. This splendid volume is the first book, to bring together a large selection of these photographs which are accompanied by a lively, informative text. Not only did Lartigue document the elegant resort life of the leisure class of which he was a member-in the villas, hotels, beach clubs, and casinos where they lived and played-but he also created an intimate chronicle of the life he shared on he Riviera with his beautiful first wife Bibi, during the 1920s, his companion Renee Perle, in 1930-31, and Florette whom he married in 1942. Apart from the stunning black-and-white images for which Lartigue is celebrated-including his ground-breaking panoramic photographs of the coastline-Lartigue's Riviera also reveals an important group of little-known and rarely published color photographs. The world ski-jumping championships in Juan-les-Pins, filming Les Aventures du roi Pausole in Cap d'Antibes, the Ziegfeld Follies girls in Monte Carlo, alternate here with the daily life of Latigue and his friends-stopping for lunch in St. Tropez, exercising on the beach in Cannes, drinking an aperitif at sunset at Cap d'Ail. Among the most beautiful-and often funny and poignant-photographs ever taken, Lartigue's pictures of the Riviera will come as a revelation to those who will be discovering them for the first time, and as a welcome glimpse of the sunlight and glamour for which he is so admired by his devoted fans.
John Scratch ist der berühmteste Fernsehmoderator der Welt. Vor laufenden Kameras klingelt er an einem Haus, in dem ein glücklich verheiratetes Paar lebt. Als die beiden ihm öffnen, sagt er: "Sie bekommen 5.000.000 Dollar, wenn Sie sich jetzt trennen und nie mehr wiedersehen." Der Mann lehnt ab. Die Frau nicht. Niemand bekommt Geld, doch die Ehe ist zerstört. Manche behaupten, nur der Teufel könne eine solche Show moderieren. Nun, sie haben recht ...
Life in the modernist era not only moved, it sped. As automobiles, airplanes, and high-speed industrial machinery proliferated at the turn of the twentieth century, a fascination with speed influenced artists—from Moscow to Manhattan—working in a variety of media. Russian avant-garde literary, visual, and cinematic artists were among those striving to elevate the ordinary physical concept of speed into a source of inspiration and generate new possibilities for everyday existence. Although modernism arrived somewhat late in Russia, the increased tempo of life at the start of the twentieth century provided Russia’s avant-garde artists with an infusion of creative dynamism and crucial momentum for revolutionary experimentation. In Fast Forward Tim Harte presents a detailed examination of the images and concepts of speed that permeated Russian modernist poetry, visual arts, and cinema. His study illustrates how a wide variety of experimental artistic tendencies of the day—such as “rayism” in poetry and painting, the effort to create a “transrational” language (zaum’) in verse, and movements seemingly as divergent as neo-primitivism and constructivism—all relied on notions of speed or dynamism to create at least part of their effects. Fast Forward reveals how the Russian avant-garde’s race to establish a new artistic and social reality over a twenty-year span reflected an ambitious metaphysical vision that corresponded closely to the nation’s rapidly changing social parameters. The embrace of speed after the 1917 Revolution, however, paradoxically hastened the movement’s demise. By the late 1920s, under a variety of historical pressures, avant-garde artistic forms morphed into those more compatible with the political agenda of the Russian state. Experimentation became politically suspect and abstractionism gave way to orthodox realism, ultimately ushering in the socialist realism and aesthetic conformism of the Stalin years.
With his very personal images, Hungarian photographer André Kertész (1894|1985) skillfully succeeded in capturing the fleeting, emotional moments in his environment. His works had a pronounced influence on artistic photography in the mid-twentieth century and on artists such as Henri Cartier-Bresson, Robert Capa, and Brassaï. Three important periods mark his oeuvre: Budapest, 1914|25; Paris, 1925|36; and New York, 1936|85. While this first retrospective deals with all phases of Kertész|s career, it sheds particular light on his work for magazines, his Distortions|photographs of nude models taken with mirrors from unusual perspectives|and the Polaroids, a series shot from the window of his home that features fascinating images of personal objects against the skyline of New York.