Libros de Fotografos, página 5 de 146

According to press reports, 2008 was the year that more bullets were fired in the recent history of Mexico. That same year, more than 5,000 people were killed in several episodes of violence and extrajudicial activity linked to drug trafficking and its repression.Teresa Margolles, who for nearly two decades has been concerned to explore the artistic possibilities of human remains, focused his participation in the Venice Biennale 2009 in a shipment conceptual, emotional and material evidence of the violence of the streets of Mexico the decadent luxury of the art world.What else could we talk?, Is much more than the documentation of the intervention Margolles in Venice. This book brings together multiple reflection (from the testimony, narrative, historical reflection and production) on a futile crusade against drugs and its pernicious effects. More than an art book is a volume that records the complex interference between violence, aesthetics and politics that emerged in Southern culture in the early twentieth century.

Werner Bischof (191654) was an outstanding photojournalist of the postwar years. When his career was cut short by his untimely death (aged 38) in a car accident in the Andes he was a member of the prestigious agency, Magnum, and his work was sought after by numerous international news magazines. He had begun his career in Zurich as an advertising photographer. Unable to remain a passive observer, it was the destruction wreaked by World War II that led him into photojournalism. He gave the rest of his life to reportage photography, which could, he believed, raise awareness and thereby effect real change and bring about a better world.

An accessible, collectable book on Weegee. First immigration American, Weegee (1899¡V1968) is the archetypal tabloid photographer of the twentieth century. Preferring to photograph under the cover of night, he was known for his aggressive use of flash. Weegee¡s photographic eye was unstoppable: drawn to the grotesque, the illicit, the illegal, Weegee delivered both harrowing and poignant photographs of crime scenes and criminals to New York¡s tabloid-reading public in the 1930s and 1940s. Named after the ¡Ouija board¡ for his uncanny ability to arrive at the scene of a crime before the police, Weegee recorded the dark side of New York¡s streets. No sordid crime seemed to escape his flash and no crime was too gruesome to capture on camera for the papers the next day. Weegee¡s understanding of people¡s simultaneous repulsion and attraction to vivid photographs of crimes of passion, murder, brutal accidents was well before his time. Even today, his photographs still have the power to shock, and the originality of the images has elevated them in importance far beyond the newspapers he worked for.

Arthur H. Fellig, conocido bajo el seudónimo de Weegee (Zolochiv, 1899- Nueva York, 1968), ha sido un fotógrafo reconocido por las imágenes de carácter documental que realizó en Nueva York entre las decadas de 1930 y 1940. Sin embargo, la segunda parte de su carrera profesional que desarrollo en Hollywood a partir de 1947 no siempre ha gozado de la consideracion que se merece. El libro recoge una seleccion de imagenes de su trayectoria que pretende poner en valor y mostrar la coherencia del conjunto de su trabajo, resultado no solo de su propia evolucion personal, sino del reflejo de los cambios experimentados por la sociedad estadounidense en esa epoca.

Joachim Baldauf renowned proponent of international fashion photography presents a new previously unknown side to his creative output Inspired by Johann Wolfgang von Goethe s Walpurgis Night in the tragedy Faust I and II his portraits studio subjects and outdoor themes illustrate its content with artistic freedom Thrilling revealing and erotic all leitmotifs tell their own story complement each other and spark the imagination From analog photography via mixed reality to the use of artificial intelligence Joachim Baldauf moves masterfully through a complex network of possibilities true to the maxim Consider What more deeply consider How Faust II Act II Text in English and German

Walker Evans (1903-1975) ranks with Alfred Stieglitz, Edward Steichen and Paul Strand as one of America''s greatest photographers. When originally published in 1994, Walker Evans: The Hungry Eye was the first book to survey every significant aspect of the artist''s oeuvre. This reduced-format version, identical in content to the previous volume, includes 300 beautiful duotone photographs. Evans was largely self-educated and began photographing regularly in 1927, using a small hand-held camera. He specialized in the life of the street - carefully observed views of American architecture, the roadside, and the people who lived in the nation''s villages, towns and cities. Beginning with Evans''s early abstractions, continuing through his three-year involvement with the Farm Security Administration and his breakthrough exhibition at the Museum of Modern Art in New York, and concluding with the artist''s experimentation with colour late in his life, Walker Evans: The Hungry Eye remains the most complete and authoritative view of this American photographic master.

A 75th-anniversary facsimile edition of one of the most significant photobooks ever publishedMore than any other artist, Walker Evans invented the images of essential America that we have long since accepted as fact, and his work has influenced not only modern photography but also literature, film and visual arts in other mediums. The original edition of American Photographs was a carefully prepared letterpress production, published by The Museum of Modern Art in 1938 to accompany an exhibition of photographs by Evans that captured scenes of America in the early 1930s. As noted on the jacket of the first edition, Evans, "photographing in New England or Louisiana, watching a Cuban political funeral or a Mississippi flood, working cautiously so as to disturb nothing in the normal atmosphere of the average place, can be considered a kind of disembodied, burrowing eye, a conspirator against time and its hammers." This seventy-fifth anniversary edition of American Photographs, made with new reproductions, recreates the original 1938 edition as closely as possible to make the landmark publication available for a new generation. American Photographs has fallen out of print for long periods of time since it was first published, and even subsequent editions--two of which altered the design and typography of the book in small but significant ways--are often available only at libraries and rare bookstores. This version, like the fiftieth-anniversary edition produced by the Museum in 1988, captures the look and feel of the very first edition with the aid of new digital technologies.

La exposición está compuesta de un centenar de extraordinarias fotografías realizadas en gelatina de plata, que proceden de los fondos de la que sin duda es la principal colección particular de obras del fotografo y documenta ampliamente todas las etapas de la trayectoria de Evans.

Walker Evans (190375) is now considered perhaps the finest documentary photographer ever and his images have had considerable influence on other artists, and not only in the field of photography. He is well known for his 1930s work for the Farm Security Administration, documenting the effect of the Great Depression on a section of the rural population. He also took many photographs of shopfronts, billboards and the seemingly inconsequential details of urban life.

In 1930 a disaffected young photographer in New York pointed his camera at two workers shoving a huge sign reading DAMAGED into a truck. With that image, Walker Evans gave birth to the quirky, edgy genre of street photography. Yes, this is the same Walker Evans famous for eye-level photographs of Alabama sharecroppers, rural churches and roadside signs. The special appeal of Walker Evans is that—in addition to nearly 200 classic photographs—it offers new images and fresh assessments of his work, based on diaries, letters, field notes and unpublished negatives acquired a decade ago by the Metropolitan Museum of Art in New York. The engagingly written essays by four specialists all bump up against the contradictory impulses of this meticulous, aloof yet curiously passionate artist. A self-described "gray man," he hated color photography. Yet the photographs from his final years--he died in 1975--include strikingly offbeat Polaroids of the glum or startled faces of friends and acquaintances. Four decades earlier, too inhibited to confront strangers directly, he hid a camera in his coat to capture the slack faces of subway riders. Despite the unadorned power of his images of people, Evans had a deeper connection to vernacular architecture and roadside signs. He photographed these everyday subjects straight on, at eye level, deliberately opting for the most deadpan approach. Yet the images are imbued with Evans' unique sensitivity to subtle visual rhythms. Influenced by Surrealism, he freely cropped photographs to shift the viewer's perspective. Despite his ardent scrutiny of the American scene in the 1930s, Evans stood apart from politics and disdained both sentimentality and social criticism. His omnivorous appetite for the culture of his time was tempered by the sober documentary influence of nineteenth century photographers Eugène Atget and Matthew Brady. For all its shrewd commentary, this beautifully produced book discusses Evans' life only insofar as it illuminates the story of the photographs. More detailed accounts are available in biographies by James R. Mellow and Belinda Rathbone