Libros de Historia y crítica de la fotografía, página 7 de 301

Walls are merely material aspects, or an environment, a reflection of society and a place for artistic expression. From scribbled graffiti to wall paintings, from posters back to graffiti art: the greatest photographers bear witness, in black and white and in color, to diverse times or cultures and human passions.

Walker Evans (1903-1975) is best known for documenting the people and living conditions of the American South during the Great Depression. But his photographic accomplishments were much broader than these famous images: modernist views of New York City, such as his Flatiron Building, New York (1928-29) and Brooklyn Bridge (1929); architectural studies of Victorian homes and other buildings in Boston, Cape Cod, Saratoga Springs, and small towns in upstate New York; a series of spontaneous and surreptitious portraits taken on the Manhattan subway; scenes from Cuba in the 1930s; and his commercial assignments as a staff photographer and writer for Fortune magazine. The familiar work from his Farm Security Administration project is also here-views of the rural South immortalized in his collaborative book with James Agee, Let Us Now Praise Famous Men, along with urban images from New Orleans and Savannah. Essays by Christian A. Peterson, associate curator of photography at The Minneapolis Institute of Arts, describe Evans''s photographic vision and include fascinating information about the acquisition history of many of the photographs in this book. Illustrated with almost one hundred high-quality black-and-white photographs, Walker Evans presents the full breadth of Evans''s expansive and varied photographic art. Distributed for The Minneapolis Institute of Arts.

El libro más completo del mítico fotógrafo, W. Eugene Simth, el maestro del fotoensayo, con las imágenes que dieron la vuelta al mundo en la revista “Life”. Incluye textos inéditos de W. Eugene Smith

The decade from 1993 to 2003 was the period during which hip-hop rose from an urban subculture to a multi-billion-dollar industry, whose styles and sound have affected every aspect of worldwide popular culture. One magazine led the way in chronicling this hip-hop revolution: VIBE. Launched by Quincy Jones in 1993, VIBE soon became the fastest-growing music magazine in history. Envisioning a multicultural future that has since become a reality, VIBE ushered in a new kind of celebrity: stars who challenged showbiz conventions and spoke to issues of race and identity. VIBE was the first magazine to profile future megastars like Snoop Doggy Dogg, Puff Daddy, and Mary J. Blige, while continuing to embrace pop royalty like Michael Jackson, Prince, Britney Spears, and Destiny''s Child. The magazine also connected hip hop to the larger tradition of black music and the broader culture that informed it, with revealing profiles of figures like Al Green, Jennifer Lopez, movie stars like Will Smith, comedians like Chris Rock and Richard Pryor, sports figures like Shaquille O''Neal, and cultural icons like Oprah Winfrey and Louis Farrakhan.As part of the celebration of VIBE''s 10th anniversary, the magazine''s editors have gathered together some of the most powerful and compelling images ever to appear in the magazine, along with a selection of never-before-seen shots and outtakes. These photos showcase the work of some of the best contemporary photographers, and include images from Tupac Shakur in a straight jacket and the members of TLC in firemen''s outfits (for an article in which Lisa "Left-Eye" Lopes admitted to burning down her boyfriend''s mansion) to candid shots of a porn star clutching a teddy bear and a resident of Watts, L.A. just getting through the day. VX: Ten Years of VIBE Photography will be the definitive photography book for the hip-hop generation.

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Mario Muchnik presenta en Casa de América la exposición VOLVERTE A VER. Argentina 1971 . Contiene 175 imágenes de Argentina en las que retrató el presente y el porvenir, retrató el instante y la eternidad. Las hizo hace treinta y siete años, y en ese momento no se proponia realizar una tesis sobre la Argentina. Las imagenes entraron solas por el objetivo, sin el menor afan academico ni periodistico. En su conjunto pintan un cuadro muy incompleto y parcial. Algunas sobrecogen al autor porque muestran una belleza que hoy ve mas claramente que entonces. Otras sorprenden porque muestran cosas que entonces no vio, o que hasta ahora no habia distinguido. Y otras suponen volver a una dulce nostalgia de un pasado que solo existe ahora en su mente. Las realizo con un equipo de dos Leicas M3, tres objetivos (de 35, 50 y 90 mm) y abundantes carretes de Kodak Tri-X. El mismo revelo los carretes en un baño de su casa parisina convertido en camara oscura. Para esta exposicion y su catalogo, digitalizo esos viejos negativos.