Bøger udgivet af Damiani

The book consists of images of a series of works-in-progress that continue an exploration of contemporary portraiture, instinct and abstraction. Classical and conceptual forms create a cohesive whole from seemingly disparate elements, and build what is hopefully an inclusive and complete vision, in which the familiar and unfamiliar are given equal grounding. These works-in-progress include plaster, concrete, rotocast plastics, ceramics, bookmaking, and darkroom photographic printing. Process and the documentation of process becomes a part of the whole. All of this is done in the buildup to a one person exhibition at the ICA Milano Foundation, opening in December 2023 into 2024.

In 2015, photographer Ivan McClellan attended the Roy LeBlanc Invitational in Oklahoma, the country¿s longest-running Black rodeo, at the invitation of Charles Perry, director and producer of The Black Cowboy. ¿It was like going to Oz ¿ there was all this color and energy,¿ McClellan says. ¿There was a backyard barbecue atmosphere. People were doing the Cupid Shuffle in their boots, guys riding around on their horses, the old men were in their perfectly starched white shirts with their pinky rings, posted up on their horses. It felt like home.¿ Over the next decade, McClelllan embarked on a journey across the nation, crafting a multi-layered look at contemporary Black rodeo culture for the new book, Eight Seconds. Whether photographing teen cowgirl sensation Kortnee Solomon at her family¿s Texas stables, capturing bull riding champion Ouncie Mitchell in action, or kicking it with the Compton Cowboys at their Los Angeles ranch, McClellan chronicles the extraordinary athletes who keep the magic and majesty of the ¿Old West¿ alive with high-octane displays of courage, strength, and skill. The book¿s title refers to the sport of bull riding ¿ athletes must stay on a bull for a total of eight seconds while it bucks and the more hectic the ride, the higher they score. It¿s an apt metaphor for McClellan¿s devotion to this long-form documentary project, which required him to hone his reflexes, endurance, and stamina to get the picture. With Eight Seconds McClellan honors the highest ideals of independence, integrity, and grit with intimate photographs that preserve the deep-rooted connections between the people and the land.

The debut monograph of Sebastian Sabal-Bruce showcases a mesmerizing collection of portraits and landscapes, elegantly woven together in a cinematic and poetic sequence. Primarily featuring the diverse places and faces Sabal-Bruce has encountered throughout his career, this work blurs the lines between fiction and documentary. It subtly weaves a narrative centered on a female protagonist emerging from the confining urban landscapes of cities like Tokyo and Manhattan. As she traverses these spaces, a poignant dance ensues between the masks we wear and our authentic selves, juxtaposing alienating city streets with raw moonlit portraits. The narrative's abstract and subtle essence encourages viewers to immerse themselves and derive personal interpretations.

Tony Caramanico has lived many lives. A competitive surfer, TV producer, surf shop owner, astute traveler, apprentice and artist, few have experienced more phases of surfing¿s development than Tony. Unlike more established sports, surfing¿s pop cultural adoption began largely in the 50s and 60s. While unfortunately a dying breed, those whöve played a key role in its development are still around to impart their wisdom. Steeped in experience, their stories of a time before surfing¿s commercialization told with an off the cuff ¿you should have been there¿ attitude are relatable to all in search of freedom from today¿s hyper regimented world. With memories rooted in empty white sand beaches, hard yard travel and the endless pursuit of new sensation, surfing¿s OGs constantly inspire ideas of an untethered existence. This book will be predominantly composed of Tony¿s art as these pieces are literal representations of his surfing life. These legible journals will provide a unique window into what the day to day of a traveling surfer in the 70s 80s and 90s was like. The book chronicles Tony¿s surfing youth, features art pieces highlighting marquee works from his thousands of entries. The book contains Tony¿s journals along with photos of his highly lauded 100+ piece surfboard collection. An important aspect of this book will be Tony speaking to his time apprenticing for Peter Beard, his experience living on Peter¿s compound and the direct ties between Peter and Tony¿s art.

This introductory monograph presents the monumental work of Puerto Rican born artist Lee Quiñones and follows his evolution over five decades. When 14-year old Lee embarked on his first spray paint mural in 1974, he carried marker drawings into the New York City subway train yards that served as studies to his 52-ft long rolling murals. Drawings and subway photography illustrate how Lee¿s emergence served as a catalyst for what is now acknowledged as the street art movement. Before Lee, graffiti art was accessed by a small audience of young people who coveted style and scale. Images of Lee¿s trains illustrate how he changed the face of the movement, infusing kinetic elements of futurism in over 120 subway car murals across the transit system. Lee invented the concept of the freestanding urban mural in his iconic 1978 ¿Howard the Duck¿ handball wall. He introduced spray-paint based work internationally when he opened his first formal exhibition in Rome, Italy in 1979, showing canvases created in a make shift Manhattan studio where Jean-Michel Basquiat also made early work, also captured in the book. Images show the social commentary and poetry used in his early expressionistic paintings. He was among the youngest artists to show at Documenta #7 in 1983, at age 22, depicted in portraits of the artist with his work from that era. He influenced peers Jean-Michel Basquiat, Keith Haring, Martin Wong, Jenny Holzer and David Wojnarowicz, who are shown viewing Lee¿s work. Subsequent paintings convey how Lee¿s practice has shaped a generation of contemporary artists. His paintings continue to revolutionize spray paint technique and intermix the tools of graffiti with traditional charcoal, pencil, ink, and printed matter. The imagery captures the mood and urgency of 1980s New York and moves from the streets to the intimacy and maturity of Lee¿s contemporary studio environment.

This is My Life I'm Talking About by Danny Lyon is a picaresque memoir written from inside the heart of the revolutionary twentieth century by one of its most crucial witnesses. A love story of a beautiful friendship with the great American hero John Lewis. Danny Lyon writes with tremendous and generous feeling, humor, and a selection of unpublished and unseen pictures ties in Danny Lyon¿s life to The Bikeriders. His story begins in Russia under the Czar, when in 1905 Lyon¿s uncle Abram is involved in the murder of a policeman during a pogrom and fled to Brooklyn, where, during World War Two, Lyon was born.

Richard Kalvar has spent over fifty years observing humans through his camera lens, trying to understand the ambiguous and mysterious relation between outward appearances and inner feelings. Not always successfully.With Selected Writings he shifts his gaze from what people physically reveal to what they write. That should be much clearer, but is it? Kalvar delicately navigates his way though the fog of expression, bumping along the way into joy, anger, confusion, incomprehensibility, and meaning often turned awry. What¿s on offer here is a collection of bizarre and fascinating visual messages, both intentional and unintentional, cast out in the world The result is unexpected, and often very funny.

The America Series is her first monograph and is a collection of photographs, created 2021 ¿ 2022, while traveling from the East Coast to the West and back in an electric vehicle, made into a make shift studio. While charging the electric vehicle, Montmare encountered and photographed people from all walks of life, while discussing topics of the environment, hopes and dreams for the future. Not only is the population continuing to evolve as new immigrants make the US their home, the land is also physically changing, as a result of the climate crisis we are facing. The westward route is one of aspiration and opportunity — a reflection on the topic of immigration and diversity, both from the photographers point of view and her subjects — and includes Native, African American and LGBTQ perspectives and voices. The work touches upon urgent current topics: climate, sustainability, the energy crisis and the electrification agenda.Against a backdrop of a uniform man-made urban landscape, with the repetition of strip malls, fast food chains and billboards urging people to consume more, the work also highlights the economic difference between Americans that have, and Americans that have not, and where sustainability discussions sometimes seem like a luxury.

Ernst Haas: Letters & Stories by Inge Bondi sheds light on the life of her friend, the Austrian-American photographer Ernst Haas (1921¿1986). Haas was a pioneer in color photography, whose innovative use of shutter speed created motion images that transformed reality into poetry. In appreciation of his innovative style, Haas was the first artist to have a solo show of color photography at New York's Museum of Modern Art in 1962. The book has a focus on Haas¿ most innovative years and holds Bondi's unique vision. She shares with us her first-hand experiences, witnessing the creative growth in Haas¿ work and increasing appreciation it enjoyed in this rapidly expanding field of photojournalism and illustrated magazines in post-war America and Europe.Bondi combines her recollections with Haas' letters, poems, photographs, and reproductions of ephemera to narrate Haas's extraordinary life journey, including his 40-year photography career. Among others, the book's thirteen chapters cover the events surrounding Haas's work: "Homecoming Prisoners of War" (1947), which prompted Robert Capa to invite him to join Magnum Photos; the published reportages in Life and Vogue from around the world, including blurred motion bullfighting images, the dances of Bali, the saturated images of New York City; the film sets of The Misfits, West Side Story, as well as The Bible (1966). The latter prompted the publication of Haas's seminal photobook The Creation (1971), one of the most successful photography books in history. "Ernst Haas: Letters & Stories" is in itself a letter from Bondi to Haas. As such, it has the sensitivity and clarity true to a friendship. Ernst Haas and Inge Bondi first met in the newly-opened Magnum's office in New York in 1951, shortly after both of them arrived in New York as European migrants.

Andrew Dosunmu, an internationally acclaimed Nigerian award-winning filmmaker and musicvideo director, has been a contributor photographer for iconic music and fashion magazines: The Face, Vibe, Fader, Vogue Hommes, Paper, Interview, also commissioned by international brands such as Nike, Adidas.Through the years, Dosunmu developed a prolific personal body of work that remainsunpublished (to this day) but noticed by distinctive private collectors and museums.This unseen and slow process work to the present time reflects the eclectic sensitivity of Andrew Dosunmu to celebrate the diversity and beauty of each one with a unique sensibility for style and attitudes mastering the art of light and colors.This unpretentious and playful monograph invents collages of unconnected locations,anonymous and celebrity identities such as ASAP Rocky, Dosunmu's ability to connect with his subjects produces a very honest and dignified photograph.An epic journey to Andrew¿s eclectic odyssey and timeless heroes: from the crowded streets and markets in Dakar, Mumbai and Cartaghena, the intriguing Cowboys from Lesotho…A rich and exhilarating monograph is an inviting conversation with the public sharing a selection of extraordinary materials to shape Andrew¿s Dosunmu aesthetic world as an influential visual artist celebrating Andrew¿s optimistic sensibility to humanity and global culture.

Surfing has nearly universal recognition and appeal. Anyone who lays eyes on Hawaii¿s Pipeline on a big day stare transfixed, hypnotized and is present. Nothing else matters as we soak in the warmth of the sun and daydream about snagging the wave of our life, whether we have surfing experience or not. Brown Cannon has been a surfer and a photographer for over 30 years and for all this time he has searched and patiently waited for a surf book that depicts the powerful allure of Oahüs North Shore surf culture. Cannon longed to be able to study the expressions and the gear of the watermen and women and then to be transported directly onto the face of a giant wave. Surfing has hit mainstream media with recent shows like The Ultimate Surfer and a recorded influx of 10.4 million tourists visiting Oahu in 2019 alone, shows that public interest in surf and surf culture are a growing phenomenon. Annually, hundreds of thousands of people yearn to catch a glimpse of the infamous Pipeline and Waimea Bay and yet there isn¿t a photography book that delivers and brings readers into the circle, until now, NORTH. The portraits for this collection were all photographed on twenty-foot seamless grey backdrops, allowing the reader to intimately study the exquisite shapes of 12-foot rhino chasers, surfers¿ bodies and their raw expressions. The portraits themselves are of surfers, lifeguards, surfboard shapers, water photographers, bodysurfers and bodyboarders. The images are reverent and reflective, allowing the viewer to get into each subject to study their gaze and gear. Surfer Buzzy Trent once said, ¿Waves are not measured in feet or inches, they are measured in increments of fear.¿In life we all confront fear, and fear is what often prevents us from doing many of the things we desire. It has the power to stifle happiness, love, truth, adventure and careers. Fear is the line that separates those in the sand from those who venture into the sea on a 20-foot day. But make no mistake, we all have limits and experience fear, the difference simply depends on where each of us draws our own line in the sand. NORTH enables the reader to consider their own fears and to The NORTH collection of photographs is complete and current and includes generations of North Shore legends, new and old.

Parla‿s painterly meditation on life and death in the wake of his perilous Covid encounter. The immersive, monumental paintings documented here were the first works that José Parlá created after his recovery from a life-threatening battle against Covid. The series was installed in the iconic Beaux-Arts Court at the Brooklyn Museum in 2022.

GSM - All photography shot on iPhone is the ultimate photo book entirely shot on an iPhone by French fashion photographer and director Axel Morin. Through his eye as an artist, Axel has developed a poetic storytelling of all the micro-narratives of the city, capturing the very essence of it. Since the beginning of this series initiated in 2014, several generations of iPhone have been used by Morin, who captured these city snapshots. The tones, the lines, the lights follow one another and answer each other in a cinematographic montage, presenting a modern and delicate world-city. This book is an archive of our time, made with the tool we always carry with us, which have become an extension of ourselves. The images are not anticipated or constructed, they are the ones that emerge from the urban monotony and are collected by the phone. The very graphic composition of the photographs draw from the background of Morin as a painter, and the association of lines and colors plunge us into a reenchanted everyday life.

'The freedom Hart has felt while working on the book has been one of its joys, and it's shown him what he wants his photography to be: an exploration of the juxtaposition of power and vulnerability.' - Creative Review When I Think About Power is a black and white photo series showcasing over 70 portraits focusing on the notion of power as it relates to the Black queer experience. Started in 2019, this project investigates and nourishes modern-day's reimagining of man through themed chapters questioning the conflicting dynamics of the Black queer man's power. Hart's approach to this work is rooted in an examination of his own journey towards self-acceptance growing up in Macon, Georgia, as he states in the coinciding text, every day of my life I have been called my father. Through the process of visually exploring the differences and similarities between himself and the men who surround him, studying the words of Black queer icons, and even researching the visibility of power throughout history in societies like the Ming dynasty or ancient Egypt, Hart has created a poetically driven collection of images that unravel a power that plenty of queer individuals seek to find at some point in their life while simultaneously depicting the struggle that can often align itself with this power. From queerness, dress, to heritage, this series documents the journey of discovering the power within.

WC. World Citizen presents photographs taken by Gustav Willeit while traveling across Italy, China, Japan, California, Iceland, and Uganda. Every corner of the planet hides traces of the past, and Willeit perfectly captures these evanescent memories. Regardless of latitude and longitude, the presence of humans, civilizations and anthropogenic interventions in natural ecosystems has caused an exceptionally rapid loss of biodiversity. And yet he is aware that humanity does not own Earth, and never has ¿ despite the fact we have always thought so. An awareness reflected in pictures depicting how our home has become more and more of a precarious habitation. The book is a journey delving into nature¿s folds and cracks, increasingly impacted by humanity¿s arrogant stewardship. We are WCs: world citizens, as described by Japanese composer Sakamoto. And yet as WCs we run the risk of, slowly but inexorably, transforming into another WC of lesser noble nature.

'Polarities' materialized in the wake of the pandemic when the artist felt its impacts acutely; after months spent in a hospital with COVID19, Parlá's doctors weren't sure if he'd ever paint again. But, an artist to his core, he proved them wrong, and the works that came about carry a heightened sense of spirituality and empathy. More than ever, Parlá sees within his practice the threads that unite us and how our actions (and passivity) become our legacy. A prominent characteristic of his work, the paintings in Polarities share a strong sense of centrum: a heart or prime mover from which bold brushstrokes and elegant lines of script emanate. These marks indicate the beginning of time, the moment from which every passing day and its events have radiated, crashed, and splintered. They are maps and topographies, micro and macro ecosystems.

In ONYX, photographer Adrienne Raquel explores the intensity and escapism of the nightclub experience, documenting the power of the performers at Houston¿s famed Club Onyx. Raquel¿s photography is usually editorial, with high-power celebrities as her subjects. Her work has broken glass ceilings for Black female photographers. Now, for this passion project commissioned by Fotografiska New York, she has turned her lens towards a community of underrepresented artists in her hometown. At Club Onyx, strippers step on stage displaying their bodies, strength, and seduction, but there¿s a virtue to this particular space. ¿They don¿t get naked¿ is a common idiom to describe the club¿s ambiance. Performers there take the word ¿stripper,¿ and negotiate what that means to them, on their own terms. Raquel captures elements of southern strip culture and the power of these performers with her signature glossy photographic style. From powerful images of the dancers mid-movement to detailed shots and intimate portraits, Raquel¿s striking images put the divine beauty and compelling energy that enlivens Houston¿s nightlife on full display. She also takes viewers behind the scenes, giving us a window into the community the dancers have built in the privacy of the locker room. There they prepare for the evening together before moving to the stage, each dancer in her moment. Uniting their star power to conquer one customer at a time, dancers continue into the early morning, performing and collecting bills. ONYX displays the empowerment and inclusivity in strip clubs that society has ignored. As captured by Raquel, the night club experience is revealed with layered meaning ¿ granting the chance for these performers to be seen as elevated as the culture they influence.

No Mames is a celebration of the flourishing LGBTQ+ individuals who are energizing the Mexico City‿s art and design industries 'In her new book, Mayan Toledano shows a tender side of the Mexico City queer scene' - Vogue (USA) 'Immortalizing queer Mexican artists in places they can fully call their own, Toledano offers a vision of the world through a radical lens of play and unmistakable tenderness that perfectly embodies the book‿s title.' - Hyperallergic 'With subjects sometimes shot over several years, intimacy was built organically. This imbues the photos with a special familial quality, the kind of photos taken by a close friend or a lover. Thanks to Mayan‿s careful touch, No Mames unfolds as a document of queer joy and togetherness.' - i-D Through her reportage, fashion and portrait work, Israeli Moroccan photographer Mayan Toledano shares the stories of her queer community, exploring their interior lives with empathy and respect. Her photography is characterized by its colorful dreaminess, and she often captures her young subjects in their bedrooms. Although Toledano is based in New York, she has found herself increasingly drawn to Mexico City, a place she considers a creative safe haven. No Mames pays tribute to the local LGBTQ artists, designers and creatives who are currently contributing to Mexican culture‿many of whom are couples, roommates, childhood friends. The series‿ portraiture follows a two-fold process: first, she captures her subjects as they present themselves in everyday life; then, she photographs them as they would like to appear, facilitating the construction of their fantasy selves. This collaborative act of wish-fulfillment sometimes coincides with real-life transformations; for instance, she follows one of subjects, Havi, over the course of her gender transition, during which she underwent breast augmentation surgery.

'Giovan reveals a humble, yet diverse, resilient and diverse community despite the area's gritty appearance - a time capsule of an era since lost to waves of gentrification' - i-paper '[T]he photobook is both a nostalgic look back - its pages seem almost warm to the touch with dreamy scenes of sun-drenched afternoons - and an invitation to viewers to rediscover and rethink Loisaida. It reflects Tria's personal relationship to her surroundings, and contributes to an ongoing visual legacy of this ever-evolving pocket of New York.' - i-D Vice 'Looking through the images, we are presented with a captivating mix of grittiness and warmth - a strong and diverse community foregrounded against the harshness of the city streets.' - Creative Review 'The work invites curiosity and nostalgia about a place that has been greatly changed since she lived there. - Blind Magazine In 1984, Tria Giovan moved to a tenement building on Clinton Street on New York City's Lower East Side. Over the next six years she wandered the streets photographing as if in a foreign land. Loisaida, as some knew it, was as gritty, authentic and humble, as it was exotic, vibrant and colorful. The melding cultures and humanity she encountered inspired these photographs. Giovan left the neighborhood and the work behind in 1990 and the negatives languished until the pandemic. Resurrecting this series through editing, scanning, and sequencing for book form, the photographer gives a contemporary perspective to historical photographs. It is new work, alive at the intersections of her encounters, her engagement with the medium, and the viewers' observations seen through a prism of time. This project is a body of work of approximately 80 photographs taken nearly forty years ago. Loisaida is a time capsule, a cultural and historical record of the 1980s Lower East Side that was diverse, provided affordable places to live, and fostered a robust and creative community. The images resonate, inviting curiosity and evoking nostalgia about a place in a bygone era that has been forever altered through waves of gentrification. Part preservation, part humanistic engagement, this project contributes to an historical visual legacy of the ever-evolving, always evocative Lower East Side. Sean Corcoran, senior curator, prints and photography of the Museum of the City of New York contributes an essay.

Daisy Chain is the new platform from Phillip Bogart Duncan and Charles Daigrepont Desselle. Published by Damiani, it is a print publication and online presence exploring the future of photography at the intersection of art and fashion. Decadent and surprising, lushly-produced yet unfussy, Daisy Chain offers an authoritative and fresh take on the indisputable influence of art photography, pitched against the backdrop of art history. With both a curatorial eye and an instinct for the new, Duncan and Desselle seek to re-investigate the canon: previously overlooked work is celebrated, and rising talent is supported. Never indulgent, their selection pinpoints the current moment, as well as the foundation it springs from. Printed in Italy and distributed worldwide, Daisy Chain presents a roster of thought-provoking contributors. Its inaugural issue includes original work from Emma Summerton, Shaniqwa Jarvis and Kuba Ryniewicz¿¿and promises a visual feast targeting accomplished fashion figures and dilettantes alike.

Selfies, portraits and poses by the Hollywood sign, from the charming to the ridiculousAfter moving to Los Angeles the filmmaker and photographer Matthew Frost began going on daily runs up the Hollywood Deep Dell, taking him past the famed vista point where people flock to take pictures and selfies in front of the Hollywood sign. He began documenting each visit with his phone, drawn by the abundance of absurd satirical material. But as a daily habit formed, he found these moments increasingly touching. In particular he focused his attention on the two flat rocks that people stand on for the ultimate Hollywood shot: "Why do they line up to step on this rock? It's only inches higher than the ground and doesn't really change the scale or the perspective of the shot! Not knowing what I'm going to find up there fills my routine with unknown and excitement.

Toiletpaper is an artists¿ magazine created and produced by Maurizio Cattelan and Pierpaolo Ferrari, born out of a passion or obsession they both cultivate: images. The magazine contains no text; each picture springs from an idea, often simple, and through a complex orchestration of people it becomes the materialization of the artists¿ mental outbursts. Since the first issue, in June 2010, Toiletpaper has created a world that displays ambiguous narratives and a troubling imagination. It combines the vernacular of commercial photography with twisted narrative tableaux and surrealistic imagery. The result is a publication that is itself a work of art, which, through its accessible form as a magazine, and through its wide distribution, challenges the limits of the contemporary art economy.

Athênai, In Search of Home expands Niko J. Kallianiotis' first monograph America in a Trance, and the work produced in Pennsylvania, which for two decades became his second home. If America in a Trance was about his departure from Athens, Athênai, In Search of Home is about coming back to his roots, eager to assimilate within a place that over the years grew to be foreign but at the same time maintained its layers of familiarity. The photographs navigate through the metro areas of Athens within an utterly diverse setting, all the way to the periphery and within a more rural and industrial stage that is vital to the character and condition of Athens. Throughout the years the city and the surrounding territories have experienced their share of socio-economic struggles and topographic transformations that have altered its identity. Despite these facts the city still stands, at times proudly and at others solemn, but always fervent to maintain its uniqueness and its yearning for a new identity, in search of new home, within one that already exists. And the city of Athens in Kallianiotis' photographs is elliptically delineated as a vibrant environment that binds together luxury and social inequality, through which a colourful language of images and symbols makes itself all the more present, a city unpredictable and saturated with history. Kallianiotis eloquently depicts in this series of photographs a city in which the temporal and the spatial elements often clash with each other, while conducting his research for a home that has changed over the years as much as he did.

?Free as they want to be': Artists Committed to Memory is the companion publication to the FotoFocus biennial exhibition that is scheduled for Fall 2022 and will run at the National Underground Railroad Freedom Center until Spring 2023. This project considers the historic and contemporary role that photography and film have played in remembering legacies of slavery and its aftermath while examining the social lives of Black Americans within various places including the land, at home, in photographic albums, at historic sites, and in public memory.This exhibition acknowledges artists' constant involvement with efforts to explore the possibilities of freedom and their relationship to it. Their quest to be ?as free as they want to be' is envisioned in the subject matter they explore as well as in their persistent drive to innovate aesthetic practices in photographic media. The publication presents some 20 artists working in photography, video, silkscreen, projection, and mixed media installation. Free as they want to be is inspired by the words of James Baldwin and the timely theme of FotoFocus, World Record, as well as events of late that have shaped the world as we know it. The artists selected for this publication are on the frontlines, creating, documenting, and writing. The works they have conceived reflect defining moments in the struggle for racial justice and equality. Free as they want to be presents an occasion to reflect upon the past, to mark significant defining moments - both triumphs and tragedies - that characterize a people and their experiences in the present - and to propose future possibilities. The artists offer images that advance a different sense of empowerment. Their images thus play an integral part in casting resilient narratives as they commemorate endurance, longevity, and accomplishment.The timing of a publication like this could not be more urgent given the human toll of the pandemic, widening economic disparities, the threat of war, voting rights, global migration crises, and quotidian violence. Proposed Artists: Terry Adkins; Radcliffe Bailey; J.P. Ball Studio; Sadie Barnett; Dawoud Bey; Sheila Pree Bright; Bisa Butler; Omar Victor Diop; Nona Faustine; Adama Delphine Fawundu; Daesha Devon Harris; Isaac Julien; Cathy Opie; Hank Willis Thomas; Lava Thomas; Carrie Mae Weems; Wendel White; William Earle Williams; anonymous tintype photographer - photo album

For the old and new loves, for the platonic and the imaginary ones, for the self-lovers and the universal loves, for love at the first sight and for the slow seductions. Disruptive aesthetic and provocative images live together in the hypnotic background images in Maurizio Cattelan and Pierpaolo Ferarri¿s 2023 love-themed Toilet Paper Calendar. Close your eyes and make your wish of love!

Famed photojournalist Steve Schapiro and his son Theophilus Donoghue have collaborated on seventy thirty, a photo project that is 70% Schapiro, 30% Donoghue. Seventy thirty depicts the various faces and expressions of humanity, from metropolitans to migrants, unseen homeless to conspicuous celebrities, such as Alec Guinness, Allen Ginsberg, Muhammad Ali, Robert De Niro, René Magritte, Janis Joplin, Andy Warhol, and the Velvet Underground. Schapiro photographs early New York skateboarders while Donoghue documents current Colombian breakdancers. Father and son both capture philosophically poignant moments that rouse reflection. Schapiro includes his classic photo "Man on Iceberg,? which was the opening double-page spread of a Life story on existentialism. In a similar fashion, Donoghue contributes his contemplative "Hindsight Intersection,? which was recently featured in ARTSY's 20 21 Artists in Support of Human Rights Watch benefit auction. Shooting in monochrome with an occasional dash of colour, Schapiro and Donoghue portray the proud and lofty as well as the humble and humorous. Alternately profound and playful, Schapiro and Donoghue's photographs capture a vast range of human emotion and experience. Like his father, Donoghue is equally concerned with social justice issues. For this project, Schapiro has selected images from the 60s civil rights movement and, with Donoghue, provided photos from today's Black Lives Matter protests and environmental rallies. Apart from numerous stateside locations, their project includes images from India, Italy, Nicaragua, Panama, Costa Rica, Colombia, and Ecuador. Together father and son provide a touching overview of humanity throughout the world from the 1950s to present day.

"Patrick's work offers a mesmerising journey around the world in search of the divine, offering a timeless portrait of people living on the fringe, creating life on their own terms." - i-D For more than 25 years, French photographer Patrick Cariou has traveled to far out places around the globe, documenting people living on the fringes of society and making a way for themselves. Whether photographing surfers, gypsies, Rastafarians, or rude boys of Kingston, Cariou celebrates his subjects as they are: peoples of the earth who meet the struggles of life with honor, dignity, and joy. Bringing together works from his groundbreaking monographs including Surfers, Yes Rasta, Trenchtown Love, and Gypsies, Works 1985-2005 takes us on a scenic journey around the world, offering an intimate and captivating look at cultures that distance themselves from the blessings and curses of modernism. Given access to these hermetic realms, Cariou presents a fascinating portrait of resistance in a multiplicity of forms. The landscape plays a vital role in CariouâEUR(TM)s work, revealing how people live shapes their identity and destiny in equal part. Whether following the waves, living in the mountains, or surviving urban and rural poverty, CariouâEUR(TM)s subjects reval the importance of preserving oneâEUR(TM)s native culture at a time of Western cultural hegemony. The spirit of pride and defiance comes alive in his work; each of the peoples portrayed have found a way to survive despite the brutality facing them and the earth alike.

This new and expanded edition of Roger Ballen's widely acclaimed 1979 photobook Boyhood features new and unpublished images taken by the photographer in the ?70. Quoted by André Kertesz, Bruce Davidson and Elliott Erwitt as a rare and intimate view of the spirit of youth, these images are able to bring back the childhood of everyone.In photographs and stories, Ballen leads us across the continents of Europe, Asia, and North America in search of boyhood: boyhood as it is lived in the Himalayas of Nepal, the islands of Indonesia, the provinces of China, the streets of America. Each stunning black and white photograph (culled from 15,000 boy photos shot during Ballen's four-year quest of his subject) depicts the magic of boys revealed in their games, their adventures, their dreams, their mischief. Boyhood is able to connect boys all around the world across the borders of nationality and culture.More of an ode or a memory than a literal document, Ballen's first book is as powerful and current today as it was 43 years ago presenting a stunning series of timeless images that transcend social and cultural particularities.

Elaine Mayes was a young photographer living in San Francisco's lively Haight-Ashbury District during the 1960s. She had photographed the Monterey Pop Festival in 1967 and, later that year, during the waning days of the Summer of Love, embarked on a set of portraits of youth culture in her neighborhood. By that time, the hippie movement had turned from euphoria to harder drugs, and the Haight had become less of a blissed-out haven for young people seeking a better way of life than a halfway house to runaway teens. Realizing the gravity of the cultural moment, Mayes shifted from the photojournalistic approach she had applied to musicians and concert-goers in Monterey to making formal portraits of people she met on the street. Choosing casual and familiar settings, such as stoops, doorways, parks, and interiors, Mayes instructed her subjects to look into her square-format camera, to concentrate and be still: she made her exposures as they exhaled. Mayes' familiarity with her subjects helped her to evade mediatized stereotypes of hippies as radically utopian and casually tragic, presenting instead an understated and unsentimental group portrait of the individual inventors of a fleeting cultural moment. Elaine Mayes: The Haight-Ashbury Portraits 1967-1968 is the first monograph on one of the decade's most important bodies of work, presenting more than forty images from Mayes' extensive series. An essay by art historian Kevin Moore elaborates an important chapter in the history of West Coast photography during this critical cultural and artistic period.