Bøger udgivet af Damiani

Pierre Fatumbi Verger is considered one of the most outstanding photographers of the twentieth century as well as a recognized researcher in the field of African Diaspora and religion studies. Verger traveled to the United States of America in 1934 and 1937, during the Great Depression, producing a collection of stunning images that document the national symbols that configure American identity and the challenging social and economic atmosphere of the time. Verger was able to capture with great sensibility the complex cultural and racial diversity of the country where many citizens still confront segregation and poverty, while struggling to live a better life. Verger¿s photographs constitute an extraordinary contribution to our understanding of the 1930¿s in the U.S., and to the growth of photojournalism, documentary and artistic photography, representing the world from new and enriching perspectives.In the introduction, Javier Escudero Rodríguez frames Verger¿s significant contribution to modern photography as well as the lasting relevance of this new collection of iconic images of the Great Depression. The 150 images included in the book, the majority of them never published before, were selected among 1110 negatives, after a meticulous research from Verger¿s archive at the Pierre Verger Foundation in Salvador.

Like seventeenth century Dutch painters who made otherwise ordinary interior scenes appear charged with meaning, Jessica Todd Harper looks for the worth in everyday moments. The characters in her imagery are the people around her- her friends, herself, family- but it is not so much they who are important as the way in which they are organized and lit. A woman helping her child practice the piano is not a particularly sacred moment but as in a Vermeer painting, the way the composition and lighting influence the content suggests that perhaps it is.Most of the time everyday scenes don't mean anything to us- in fact, it is a modern truism that we seek to be distracted from them. We scroll through our phones rather than be alone with our thoughts, our selves or even our families. This collection of photographs makes use of what is right in front of me, what is here, a place that many of us came to contemplate especially during the pandemic. Beauty, goodness and truth can reveal themselves in daily life, much like in Kant's notion of the Sublime or simply in the Dutch paintings of everyday domestic scenes that are somehow lit up with purport. Our unexamined or even boring surroundings can sometimes be illuminating.

The Cold War is just a distant memory for many, and practically a blank slate for anyone born after 1980. For most people in the West, the realities of life behind the Iron Curtain have faded into caricatures of police state repression and bread lines. With the world seemingly again divided between democracies and authoritarian regimes, it is essential that we understand the reality of life in the Soviet Bloc. Photojournalist Arthur Grace was uniquely placed to provide that context.During the 1970's and 1980's, Grace traveled extensively behind the Iron Curtain working primarily for news magazines. One of only a small corps of Western photographers with ongoing access to the area, he was able to take the time to delve into the most ordinary corners of people's daily lives while also covering significant events which unfolded while on assignment. Many of the photographs in this remarkable book are effectively psychological portraits that leave the viewer with a sense of the gamut of emotions in that era.Mr. Grace's extensive photographic archive of this highly charged period is the basis for his new book, COMMUNISM(S): A COLD WAR ALBUM. Illustrated with over one hundred and twenty black and white images - nearly all previously unpublished, COMMUNISM(S) gives an unprecedented glimpse behind the veil of a not-so-distant time filled with harsh realities unseen by nearly all but those that lived through it.Shot in the USSR, Poland, Romania, Yugoslavia, and the German Democratic Republic, Mr. Grace's images reveal an ongoing cat and mouse struggle between State sponsored forces seeking obedience by regimenting mind and body, and their every-day citizens seeking connection to universal humanity in small moments. Here are portraits of factory workers, farmers, churchgoers, vacationers, and loitering teens juxtaposed with the GDR's imposing Social-Realist-designed apartment blocks, propagandistic annual May Day Parades, Poland's Solidarity movement and the subsequent imposition of martial law, and the vastness of Moscow's Red Square contrasted with ever-present public propaganda, communal mineral water vending machines, and endless lines of citizens hoping for an opportunity to buy a cut of meat, or basically anything still in stock at the butcher shop. COMMUNISM(S) thought-provoking photographs expand and enlighten our view of the history of this period while serving as a graphic reminder of an era we seem destined to repeat.

To Die Alive conjures a hedonistic fever dream of Fire Island's historic gay communities. The book contains 77 photographs by New York artist Matthew Leifheit taken by night over the past five years. The pictures show a world of desire layered in history, including the Ice Palace bar's infamous underwear party, the men-only Belvedere Guesthouse, clandestine encounters in the Meat Rack, and landscapes in all seasons of the island's delicate maritime forest. The wide-ranging subjects of Leifheit's portraits are the intergenerational community who come to the island for refuge or employment, ranging from sugar daddies to bartenders and sex workers. The series takes the form of a tragedy, combining many nights and many histories to form an endless night of sex, death, and evolution towards new definitions of queerness. As homosexuality gains mainstream acceptance, many queer Americans no longer need to go to geographic extremes like Fire Island, Provincetown, Palm Springs or Key West to express themselves. But what is the cost of assimilation? To Die Alive is both romantic and grotesque, challenging the sun-bleached history of homoerotic representation on this fragile island, which itself is under constant threat of erosion into the sea.

N.V. Parekh was an influential Indian-born portrait photographer whose studio, located in Mombasa in the 20th-century, attracted clients from East Africa and beyond. I Am Sparkling: N. V. Parekh and His Portrait Studio Clients-Mombasa, Kenya 1940 to 1980 is a discrete examination of an historically-significant artist and his distinct clientele; and the temporal, geographical, and cultural milieu in which their collaborations flourished. The manuscript is based on a rarely accessed photographic archive and is complemented by extensive interviews with Parekh's diverse clientele, with a particular focus on women as clients of studio photographers.

The second monograph by New York- and Paris-based photographer Matthew Brookes, Into the Wild is a vibrant celebration of surf life. For this project, Brookes followed a group of young surfers from Venice Beach on their adventures up and down the coast. The result is a story of van culture along the California coast-a story of youth choosing to follow their dreams, living out of vans, existing for surf and travel and freedom, and always chasing the best waves. The documentary-style photographs are typical of Brookes' work, with ethereal shots punctuating more naturalistic photos. The book includes interviews with the surfers done by Zack Raffin from the major surf magazine Stab Magazine. Raffin is a young surfer himself and grew up surrounded by van culture, positioning him as an insider voice as much as a journalist.

Michael HauptmanâEUR(TM)s first monograph presents a selection of his personal work that explores the themes of nature, technology, phenomena and the cosmos. Hauptman sometimes uses digital manipulation not to make pictures that looks unreal but to attempt to depict mysteries of time and space. A former photo assistant of Richard Burbridge, Michael Hauptman has been taking pictures and living in New York City for the last 15 years.

Authored by two acclaimed scholars, Okwui Enwezor and Chika Okeke-Agulu, this is the most comprehensive and authoritative account yet on the work of El Anatsui, the world-renowned Ghanaian-born sculptor. The product of more than three decades of research and close collaboration with the artist, it shows how his early wood reliefs and terracottas, and the later monumental metal sculptures, express a search for alternative models of art-making. The authors argue that the pervasiveness of fragmentation as a compositional device in Anatsui¿s oeuvre evokes the impact of colonization and postcolonial forces on African cultures. At the same time, the invocation of resilience and fragility invests his shape-shifting sculptures with iconic power. The authors also show how, in his critically acclaimed metal works, the manual labor of flattening, cutting, twisting and crushing bottle caps and using copper wires to suture and stitch the elements into one dazzling, reconfigurable epic piece serves as a powerful metaphor for human life. This book presents Anatsui as a visionary of incomparable imagination, also situating his work within a broader historical context¿specifically, the postcolonial modernism of midcentury African artists and writers, the cultural ferment of post-independence Ghana and the intellectual environment of the 1970s Nsukka School. By recovering these histories, the authors show how and why Anatsui became one of the most formidable sculptors of our time.

Orbital Planes: A Personal Vision of the Space Shuttle is Roland MillerâEUR(TM)s intimate photographic view of the Space Shuttle Program. A unique collection of imagery, the book explores the Space Shuttle orbitersâEUR"both inside and outâEUR"along with related facilities including rocket engine test sites, Solid Rocket Booster and External Tank manufacturing facilities, orbiter manufacturing and maintenance facilities, launch sites, and more. Miller photographed the Space Shuttle starting in 1988. He began his focused work for Orbital Planes in 2008 and continued for the duration of the Space Shuttle Program through the decommissioning of the orbiters. Orbital Planes is part artistic invention, part space archaeology, and part historic documentation. Through a combination of documentary and abstract photographs made around the United States, Orbital Planes tells an expansive story of the Space Shuttle Program in a visually arresting style. Detailed imagery describes the distinctive design and engineering of these spacecraft and the facilities where they were maintained and launched. The drama and danger of spaceflight are seen in the wear and tear visible on the Space Shuttle orbiters. The book also chronicles the story of MillerâEUR(TM)s interactions with Space Shuttle workers and the impacts of the Challenger and Columbia accidents.

In April 2020, during the early days of the COVID pandemic lockdowns, photographer Mel D. Cole started driving around New York City documenting the streets. This almost therapeutic exercise became a call to action upon the murder of George Floyd, and Cole dedicated the rest of 2020 to photographing the Black Lives Matter protests that swept the country. In addition to canvassing the action in New York City, Cole traveled to cover protests in Washington, DC, and Richmond, Virginia. The body of work he has produced from that electrifying summer is a powerful outpouring of the hurt, outrage, and courage of people compelled to take action following the brutal death of George Floyd. Inspired by the black-and-white documentary tradition of the 1960s, Cole seeks to create what he calls "a collective memory" that continues the legacy of the civil rights movement. That historical through-line is a bitter reminder of the oppression and resistance that continues today. Cole has said, "Shooting the Black Lives Matter movement is the most important work of my entire life. It meant the world to me to document and do this service. This is what I have, this is what I can bring to the table, and it's my eye, my platform to tell the stories."

With a career spanning over three decades, internationally acclaimed artist Alexis Rockman is well known for his complex, large scale paintings and works on paper depicting the collision between civilization and nature. The artist synthesizes elements of human history, natural science and landscape painting; a passionate interest in climate change and globalization; and a healthy dose of art history and science fiction, to create images that reveal our world balancing on the precipice. Beyond their lush surfaces, radiant washes of color, and technical inventiveness belies a dark humor, an intense curiosity and a probing intelligence that serves to heighten the power and urgency of his invented narratives. Works on Paper is the first comprehensive survey of the artist's graphic work, documenting his extraordinary accomplishments as a draftsman through a meticulous selection of watercolors, gouaches, oil drawings, field studies, and sketchbooks. Designed in close collaboration with the artist, the book reproduces 120 works, many of which have never before been published. Included are his earliest watercolors from the 1980s, often of hybrid and mutated animals; Field Drawings, created in Guyana and other remote locations from mud sourced on site; the ominously beautiful and apocalyptic Weather Drawings; painterly works relating to his epic The Great Lakes Cycle; and Lost at Sea, his most recent body of work reimagining famed and historic shipwrecks. The book includes a visual appendix of Rockman's graphic influences, with commentary by the artist. Works on Paper is a valuable addition to scholarship on the artist, providing a critical understanding of a visionary oeuvre made at the intersection of art, nature and science.

100 Churches of Venice and the Lagoon is a photographic project started by Merizalde in 2014, alongside a broader body of work that began in the city in 2008. The color photographs in this book document religious temples from every "sestiere" of Venice, and the smaller towns of the Venetian lagoon. Starting in every neighborhood in the city, and navigating the Venetian lagoon-from Murano to Burano and Torcello, from Pellestrina to Chioggia, and deep into the northern lagoon to areas like Lio Piccolo, Mesole and beyond-he found and photographed their respective churches whether they remained in service or were deconsecrated or repurposed. Following their architectural similarities, the book presents a layout that favors the facade, relying on this subtle repetition for artistic sustenance and balance. A poignant essay by Marina Gasparini Lagrange provides an account tthat combines her personal experience as a former resident with a balanced historical perspective. 100 Churches of Venice and the Lagoon presents an in-depth view of Venetian culture and history through its place of worship in a book of exceptional appeal.

This spectacular collection of photographs is a follow-up to Wilson¿s very successful book, Wild Life, which was published in 2014. With 80 percent new work, stunning landscape format design, a new introduction by Wilson about his philosophy and process, and an essay by Dan Flores, author of the New York Times-bestseller Coyote America, The Other World: Animal Portraits will be a welcome sequel and a strong contender in the popular wildlife photography genre. Although he shoots in the studio, Wilson is inspired by the notion of the ¿authentic encounter,¿ that is, allowing the animal to reveal itself to us rather than imposing our subjective notions on it or on the portrait.

Disturbed Home is the first comprehensive survey of the artist's architectural interventions, including photographic and filmic interpretations of those structural works. Highlighting projects of the past twelve years and spanning geographies from Strange's native Australia, to New Zealand, Japan, Poland, and the United States, Strange's provocative transformations of damaged or abandoned homes unlock themes of social upheaval and geographic displacement caused by a variety of factors-economic blight, environmental disaster, and social migrations. Published on the occasion of exhibitions at the 2020 Perth Festival and the 2022 FotoFocus Biennial, Disturbed Home features lucid commentary and original imagery on numerous distinct projects. Also included are scholarly essays by FotoFocus artistic director and curator Kevin Moore and Britt Salvesen, curator and head of the Wallis Annenberg Photography Department and the Prints and Drawings Department at the Los Angeles County Museum of Art. Essays address Strange's practice within traditions of street art, photography, film, public sculpture, and dance performance.

Brad Elterman was at the centre of Los Angeles Rock and Punk scene in the late 1970s and early 80s. Brad asked rising photographer Sandy Kim to go through his archive and edit his photos into a book, the result has the spirit of a tabloid and a zine, mixing rock and punk stars with mainstream legends.

In late 2013, photographer Stephan Würth embarked on a whirlwindroad trip, winding his way across Burundi, a small landlocked nation in the heart of East Africa. Snapping images on a hidden iPhone during his journey, Würth portrays everyday life in the impoverished country, from the bustling open-air markets of its capital, Bujumbura, to the plantations of sweet banana and coffee deep in the country's foothills. The photographs highlight the integral role the bicycle--or ikinga--plays in Burundi's culture. With a candid eye that recalls Walker Evans' surreptitious subway shots of New York in the 1930s, Würth's photographs reveal a lively, resourceful and entrenched bicycle culture that is vital not only to Burundi's economy, but also to the daily survival of its countrymen. At times playful and intimate, Ikinga is a bold meditation upon the power of creativity and improvisation during times of great difficulty.

With this beautiful facsimile edition, Damiani brings the classic 1959 photo-book back into print. Philippe Halsman's Jump Book gathers nearly 200 Halsman portraits of famous subjects in midair. These uniquely witty and energetic images of airborne movie stars, politicians, royalty, artists and authors have become an important part of Halsman's photographic legacy. For a period of six years in the mid-1950s, Halsman ended his portrait sessions by asking his sitters to jump. Grace Kelly, Marilyn Monroe, Edward Steichen, Audrey Hepburn, Robert Oppenheimer, John Steinbeck, Weegee, Aldous Huxley, Marc Chagall, Salvador Dalí, Brigitte Bardot and Groucho Marx all took the leap of faith. It is a tribute to Halsman's powers of persuasion that even Richard Nixon, the Duke and Duchess of Windsor and other figures not famed for their spontaneity were talked into "rising" to the challenge.Philippe Halsman's Jump Book was first published in 1959, and included a delightful essay by Halsman on the new science of "Jumpology." "When you ask a person to jump," Halsman wrote, "his attention is mostly directed toward the act of jumping, and the mask falls, so that the real person appears." The images are witty, energetic and unexpected.Portrait photographer Philippe Halsman (1906-79) was born in Riga, Latvia. The Second World War forced Halsman to flee to New York in 1940, where he established himself as an in-demand portrait photographer, shooting covers for virtually every major American magazine.

The book features an encounters between creative communities: acommunity of forced displaced villagers, a community of artists, ofdesigners, and of architects.

The upcoming 2015 TOILETPAPER wall calendar features photographsconceived by Maurizio Cattelan and Pierpaolo Ferrari taken from theirmagazine TOILETPAPER, an image-only publication devoted to thecombination of the height of attractiveness with that of ugliness

I Woke Up in My Clothes is a visual narrative from American photographer Aaron Stern (born 1978), whose images have appeared in such publications as Dazed & Confused, The New York Times T Magazine and L'Officiel Hommes. Capturing lost moments of intimacy and shattered landscapes ranging from Rockaway Beach after Hurricane Sandy to the empty lots on the outskirts of downtown Los Angeles, these photographs are the artist's attempt to capture a world view that life consists of periods of positive connections that punctuate the isolation of modern existence and the inevitable decay that faces all human endeavor. Photographed on 35mm and medium-format film from 2007-2013, I Woke Up in My Clothes includes an introduction by Los Angeles writer Rich Appel and a poem from award-winning American poet David Wagoner--an existential hymn to impermanence and companionship.

Windows is the debut volume of photographer Xavier Guardans (born 1954), produced in 2006 while exploring the Kenyan wilderness. These black-and-white portraits of individuals from a variety of Kenyan tribes--including Turkana, Samburu, Masai, Rendille, Gabra and Pokot--were shot through the window of Guardans' Toyota Land Cruiser. The background is empty (only bright white light outlines each individual), while the dark window acts as an equalizing picture frame. Despite (or because of) the uniform background and constant frame, the position and composure of the people photographed varies greatly, especially in the position of the hands--one man carries two baby goats in his arms, some hands are hidden, and many hands and arms invade the car window, leaning or reaching in, toward the viewer. Windows is the first in a series of five books to be published featuring Guardans' long-term photographic projects.

FRONTIER has been structured as an open and evolving platform based on two complementary phases: the first is focused on the demonstration of the artistic value of Street Art and Writing, displayed by the creation of 13 monumental walls; the second one is an international symposium for a theoretical and critical examination of the two disciplines.