Bøger udgivet af Damiani

In a hotly anticipated follow-up to the first Toiletpaper anthology, Toiletpaper Volume II: Platinum Collection presents a selection of the best images from the past five issues of Toiletpaper magazine, the creative collaboration of Maurizio Cattelan and Pierpaolo Ferrari. The book also includes special projects shot by Cattelan and Ferrari for such publications as Purple, New York Magazine, Kenzine, Le Monde and Dazed & Confused. Along with the outrageous and inventive images, Toiletpaper Volume II contains an eclectic collection of texts, ranging from Nikolai Gogol's The Nose to an excerpt of a California law regarding frog jumping to a list of inventors killed by their own inventions. This is a limited edition publication of 1,000 copies, each of which is accompanied by a watch created by the Toiletpaper team.

This Collector¿s Edition includes the book Alphabet Book and this print signed and numbered by Tierney Gearon: Instant Incognito, 2010, Archival pigment print on Hahnemuehle paper, 21.8 x 16.3 cm. The photograph has been printed in 2014 in a limited edition of 100 copies. The book by Tierney Gearon entitled Alphabet Book takes the form of a children¿s alphabet book. Each letter of the alphabet is illustrated with a photograph by Gearon that animates the letter: A is ¿Airplane Adventure¿ B is ¿Bear Boy¿ C becomes ¿Clown Car¿ etc. At once an inventive photo-book and enchanting take on the children¿s alphabet book, this volume is Gearon¿s most charming and lighthearted work to date.

Joan Liftin's third monograph, Water for Tears , is a lyrical memoir. The book is about family and trips, about running away and coming back, short texts and photographs about pleasure in the newness of everyday life. There are layered images from everywhere, like the blind woman feeling her way by a timeworn splattered wall in Mexico or the teenage boys posing with a head of Reagan in the Soviet Union in 1988, while the darkest ones are from the American South's brutality during the struggle of the Civil Rights Movement. Her observations are mysterious, sensuous and often very funny. At the heart of the book is a tender farewell to her life with Charlie, Magnum photographer Charles Harbutt. There are no captions or dates, except in the back of the book, but you know where you are - you are with Joan.

Over the last two summers, Pigozzi has have been taking photographs of his young and very playful dogs. In 2016, he received from Hungary two Vizsla, that he called Charles and Saatchi, and he was immediately amazed by how crazy their playing was, so he started taking pictures of them that can sometimes look violent, but he can assure you this is all play. In 2017, another puppy arrived, who is also called Saatchi. She is a Rhodesian Ridgeback and she too played with Charles and Saatchi. He mainly took the pictures in black and white as it made them more intense and a bit more dramatic. This book, Charles and Saatchi. The Dogs , contains some of the best pictures Jean Pigozzi took of his dogs.

Photographs conceived by the grouping of Martin Parr, Maurizio Cattelan and Pierpaolo Ferrari and featured in the "ToiletMartin PaperParr" magazine are featured across this quirky calendar.

Jessica Todd Harper's latest collection of images is aptly called The HomeStage, a double entendre that alludes to both the home bound lifestyleof families with small children as well as the idea that home is thestage on which children first learn how to live.

At first glance, Hiroshi Sugimotös photographic portrait of King Henry VIII of England is arresting: his camera has captured the tactility of Henry¿s luxurious furs and silks, the elaborate embroidery of his doublet, and the light reflecting off of each shimmering jewel. The contours of the king¿s face are so lifelike that he appears to be almost three- dimensional. It seems as though the twenty-first century artist has traveled back in time nearly five hundred years to photograph his royal subject. While Sugimotös portraits of historical figures appear to capture a lived moment in time, they are fictions. These portraits are in fact at least twice removed from the subject: his photograph captures a wax figure that has been created by a sculptor from either a photographic portrait or a painted one. Sugimoto has photographed his portraits of historical subjects in black and white, with each ¿sitter¿ posed against a black background, giving the images an austere formality. The black backdrop, free of any props or additional visual information, amplifies the illusion that we are viewing a contemporary portrait in which the subject has stepped out of history. Other portraits appear to be photojournalistic. Sugimotös image of the Duke of Wellington at Napoleon¿s deathbed is actually a photograph of the mise en scene created by the wax museum, but it registers as real in our minds. The portraits of wax figures, which in this volume are presented alongside a handful of portraits of living subjects and photographs of memento mori, call into question what it is the portrait captures. As with his other major bodies of work¿Dioramas, Seascapes, Theaters¿Sugimotös Portraits address the passage of time and history. We recognize these historical figures because of the many contemporaneous drawings, paintings, sculptures, and photographs that have recorded them. We take it for granted that a photograph of a living subject is true, but what does that mean? Are Sugimotös portraits of living subjects more ¿true¿ than the historical portraits of wax figures? Is Hans Holbein¿s painted portrait of Henry VIII truer than Sugimotös photograph of the wax figure made from Holbein¿s painting?

This exhaustive monograph of Susan Meiselas will be released in occasion of the retrospective that will take place at Tàpies Foundation in Barcelone, Jeu de Paume in Paris and SFMOMA in San Francisco. Mediations is published by Damiani/Jeu de Paume/Fondation Tàpies. This exhibition and monograph propose a selection of works from the 1970s to today which reveal the particular approach of Susan Meiselas toward to the underlying reasons for making photographs, how the image concerns it¿s subject as much as the photographer and the role that these images can have at different levels in society and particularly in photojournalism.

Jessica Antoläs first monograph is a vibrant journey through Sub-Saharan Africa. Traveling mostly by car, she captures the distinctive style and beauty of everyday life in Benin, Burkina Faso, Cote d¿Ivoire, Ghana, Ethiopia, Senegal, and Togo. Her striking portraits, landscapes, and vignettes offer an intimate view of life lived in rural villages, big cities, and along the remote roadways between the two. Men dressed head to toe in elaborate African wax textiles share a motorcycle, ancestral spirits bridge earthly and supernatural worlds in masked dances, the rich red soil dusts the lush tropical jungle, a girl in an oversized straw hat steers her boat with a boldly patterned patchwork sail, and a gold jewelry-clad Kumasi King performs a warrior dance. Just as Antola is captivated by how people around the world express themselves in relation to their environments, so do these images reflect this: the astonishing variety of ways people create and define themselves daily, over and over again, through dress and ritual, work and play

Luca Campigottös journey in China begins with a search for a mythical past and arrives at the chaotic present of the megacities. The photographs collected in Iconic China present an image of the soul of a country in which extraordinary futuristic skylines of cities projected into the future blend with traditions and atmospheres that stretch back thousands of years: the silences and the remoteness of the Great Wall, the archaeological miracle of the unearthed terracotta army, the ancient quietness of the rivers in the south, the dazzling whirlwind of unstoppable urbanisation. Campigottös large-format images transform themselves from view to vision: the classic and contemplative look borrowed from great nineteenth-century photography comes to terms with the contemporary world immersing itself in the colours of the urban night. The precision of the compositions ¿ always imbued with references to paintings and the cinema ¿ and a skilful use of light, try to bring order to the vastness and complexity of the scene.

American fashion photographer James Moore (1936-2006) was an influential voice in mid-20th-century fashion photography, working for Harper's Bazaar during its 1960s heyday under the leadership of legendary editor Carmel Snow. Shooting languid mod gamines and luxe bohemians in arresting, often surreal or cinematic compositions, Moore helped shape the visual vocabulary of '60s fashion alongside better-known colleagues such as art director Alexey Brodovitch (under whom Moore studied). Moore also directed television commercials and contributed photographs to European magazines in the 1980s and 1990s, and taught photography at the School of Visual Arts, New York, and the Rochester Institute of Technology. Every Moore photograph is an intricate exploration of space and beauty, with an attention to detail that betrays the photographer's peerless eye. Something of a "photographer's photographer," Moore influenced the next generation of great fashion photographers but has been somewhat neglected in histories of 1960s fashion and culture--until now. James Moore: Photographs 1962-2006 collects a half century of extraordinary photographs by Moore, the first time his work has been collected in a single monograph. Including texts from the leading editors, models, photographers and designers of the day, this volume takes stock of James Moore's astounding career and an extraordinary cultural moment.

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

"Global education" è un libro sulla metodologia dell'artista italiano Giuseppe Stampone. Il suo lavoro è paragonabile al gioco delle scatole cinesi: egli crea progetti che ne contengono altri. Attraverso questi realizza opere, interventi nello spazio sociale e nuovi modelli educativi basandosi sull'idea del network. Il libro contiene immagini di Water/Net Community, l'ultimo dei suoi progetti, il più ambizioso e punto di arrivo del suo lavoro; Solstizio il punto di partenza dal quale discendono tutti gli altri.