Bøger udgivet af Damiani

Following the great success of the first edition of Portraits in the presence of Marina Abramovic, Marco Anelli reissues a new edition of this acclaimed publication. This remastered edition includes never before seen archival photographs of the behind-the-scene moments of the artist in preparation for the performance. Alongside her retrospective at the Museum of Modern Art in New York, Marina Abramovic staged a performance of three months in the central atrium. Inside a delineated space, visitors from the public were invited to sit in a chair opposite to her and exchange eye contact. The performance drew out a visceral emotional response, captured by Anelli from a distance. The sitters were frequent museum visitors, as well as renown artists, actors and musicians, including Lou Reed, Patti Smith, Björk, Sharon Stone, James Franco, and others. The result was an international sensation around the work and the photographs, which were published by the museum on a daily basis. To realize this project, Anelli had also spent over 716 hours in the museum, meticulously making portraits of Abramovic, each individual sitting across from her, and noting the duration of each exchange. These photographs function as the primary representation of this seminal work of performance in the 21st century, and chronicle an unforgettable moment in the history of art.

Marseille is a love letter from an American to France's oldest and second largest city. Joan Liftin's photographs of Marseille, one of Europe's most ethnically diverse cities, show us a place where much of life still unfolds on the street. The city's spirit and raffish glamour resides in its people rather than in its monuments, and Liftin captures day and nighttime encounters, moments of quiet beauty, allusions to corrosive crime and poverty, and the diverse heartbeat of this soulful Mediterranean port city. Her photographs offer us an honest, intimate vision of Marseille, at once timeless and passionately alive. Joan Liftin's photographs have appeared in New York Times Magazine, Aperture and Creative Photography. Her work is included in the collections of the Philadelphia Museum of Art, the Cleveland Museum of Art, Princeton University, and the Center for Creative Photography, Tuscon, among others.

In his latest book, Takay presents photographs that pay homage to the creative power and style of the great Japanese designer, Yohji Yamamoto. Fluence was shot primarily in Tokyo, Japan. In it, Takay has captured the magic and mystery of artistic forces and his native country. The images in Fluence are shot in black and white which punctuate the subject and the black designs and silhouettes of Yojhi Yamamotös clothing. The subjects in the book are some of Japan¿s most accomplished creatives, actors, musicians and models. The locations hark back to Japan of the 1980¿s, the end of the Showa era. Takay subconsciously chose locations that reflect this, the era he lived in prior to leaving Japan. These previously unseen photographs blend the Japanese landscape with the transformative power and energy of the people and the archive collection. The seed for this book was planted many years ago at the start of Takay¿s career when he worked with Terry Jones on a Yohji project, and came to fruition after he was offered the use of the Yohji Yamamoto archive collection which spans 40 years of design. In Takay¿s opinion, Yohji Yamamotös designs have a strong avant-garde, masculine style, mixed with a strong Japanese sensibility and elegance. When he began his project, he thought about what he could do with the clothes but while working with the people dressed in the collection, there was a transformation visually for him, which inspired him to create the images in this book.

The Chimneys is home to one of Frederick Law Olmsted Jr.'s finest surviving Italianate gardens.

Portraits of resilience and vulnerability, with QR-linked audio of comments and anecdotes from Stipe In this third, photo-based chapter of the Damiani series, Michael Stipe explores strength, courage and vulnerability, pausing the project abruptly due to the COVID-19 pandemic. What follows is a lockdown interpretation of a 21st-century portrait, with a resolute desire to show our resilience, our humour, our collective fortitude and our adaptability. Through unique QR codes, the book is enriched by free audio content which deepens and enhances the discovery of the images. Scanning the QR code opens access to the "making-of" anecdotes and the intention behind the book, as told by Stipe. As an undergraduate studio art major at the University of Georgia, Michael Stipe (born 1960) studied photography and painting before leaving school upon the formation of R.E.M., the band for which he served as frontman and singer/songwriter until its dissolution in 2011. The sensibility that he began to develop during his time as an art student transferred to the spectrum of his work for R.E.M., from art directing all graphic, video and stage design, to writing, composing and performance, and his iconoclastic personal style. Stipe's visibility as a media figure in the popular culture of the 1980s and '90s left an indelible mark on the aesthetic trends of the time, many of which have trickled down to contemporary culture.

Over the course of a decade, photographer Bonnie Briant collected everything she saw, resulting in an extensive catalogue of photographs. Her first monograph, Lump Sum Lottery is quiet and subtle selection of images produced during those ten years. Self-reflexive and diaristic in nature, Lump Sum Lottery represents the many idiosyncratic, intimate moments that make up a life¿the in-between spaces, the moments you feel but can¿t necessarily put into words; time passing in a wild rush, with everything changing yet, somehow, staying exactly the same. The photographs become personal touchstones, a mode of organising, controlling (to an extent), and collecting the world. Each picture stands alone, infused with its own story, but quietly come together, like a steady stream, as a whole.

Known for her quiet portraits of American cultural movements, Kristin Bedford¿s new work, Cruise Night, is an intimate and unstaged exploration of Mexican American lowrider car culture in Los Angeles. From 2014 to 2019 she attended hundreds of lowrider cruise nights, car shows, quinceañeras, weddings and funerals. Bedford¿s images offer a new visual narrative around the lowrider tradition and invite us to question prevalent societal stereotypes. Located at the intersection of aesthetics and social realism, her photographs explore the nuance of cars as mobile canvases and the legendary community that creates them. With the bold language of color photography and the female vantage point, Cruise Night is an original look at a prolific American movement set against the Los Angeles cityscape. Kristin Bedford appreciates the sensitivity of our culture and Cruise Night is an amazing representation of lowriding. We are always being stereotyped but by riding with us she understands what we are really about and what we do. She has earned the respect of the lowrider community by not just making a book but by living the life with us. We will always be thankful that she¿s one of the very few that got it right. Like the saying goes, ¿one rides, we all ride¿ and she¿s riding along with us.¿ - Juan Ramirez, Co-founder Los Angeles Lowrider Community and President of Just Memories Car Club One part family album in its prosaic depiction of the lowrider community, one part a poetic, electric, color filled photographic embrace of an often stereotyped subculture, Bedford's approach in Cruise Night captivates with its uniquely female gaze, a rarity in car culture across genres. - Eve Schillo, Assistant Curator, Wallis Annenberg Photography Department, Los Angeles County Museum of Art

7 Deaths of Maria Callas is an opera project created by Marina Abramović premiering at the Bayerische Staatsopera in Munich 2020. In collaboration with an all star creative team and through a mix of narrative opera and film, Abramović re-creates seven iconic deaths from Callas¿ most important roles throughout her career, followed by an interpretive recreation of Callas¿ actual death played by Abramović on stage. This book serves as a companion to the live performance and provides a behind the scenes look into the different elements that make up this conceptual and dynamic homage to the classic and iconic singer.

Martin Parr has been taking photographs in Ireland for 40 years. His work covers many of the most significant moments in Ireland's recent history, encompassing the Pope's visit in 1979, when a third of the country's population attended Mass in Knock and Phoenix Park in Dublin, as well as gay weddings and start-up companies in 2019. It is difficult to think of a country that has changed so dramatically in this relatively short space of time. Parr lived in the West of Ireland between 1980-82. He photographed traditional aspects of rural life, such as horse fairs and dances, but also looked at the first hint of Ireland's new wealth in the shape of the bungalows that were springing up everywhere, replacing more traditional dwellings. During subsequent trips to Ireland he explored the new estates around Dublin and the introduction of the first drive-through McDonald's. Parr also looked at the North and documented how, after the Good Friday agreement, the Troubles became the focus of a new tourist boom. The final chapter of this book portrays a contemporary Dublin where start-up companies are thriving, the docks area is being gentrified and where icons of wealth and modernity - such as the flat white - can be everywhere. Ireland has also now voted to allow both abortion and gay weddings, developments that would have been unthinkable 40 years ago. The book includes an introduction by the acclaimed journalist Fintan O'Toole.

Tar Beach. On the Rooftops of Little Italy brings together photographs and memories of life in and around the rooftops of Little Italy, New York. These are pictures that were made, kept and gathered by various families who handed them down from 1940 to the early 1970's. Reflections from the community offer perspectives of multiple generations, as Angel Marinaccio says: "If you had an accomplishment- communion, confirmation, wedding, graduation or birthday, you'd dress up in your best outfit and go to the rooftop to take pictures and celebrate with your family." We see the images they shared and saved. The introduction to Tar Beach is written by renown filmmaker Martin Scorsese who grew up on the streets portrayed in this collection. He writes: "The roof was our escape hatch and it was our sanctuary. The endless crowds, the filth and the grime, the constant noise, the chaos, the claustrophobia, the non-stop motion of everything... you would walk up that flight of stairs, open the door, and you were above it all. You could breathe. You could dream. You could be." Photographer Susan Meiselas, along with two of her neighbours, Angel Marinaccio and Virginia Dell'Orio, collected and curated these vernacular photographs to convey the feeling of this special place and time in the daily lives of Italian immigrants as they made their way to becoming part of American culture. The book is designed by Yolanda Cuomo.

Nor Dread Nor Hope Attend. Photographs from the Plains of Africa gathers 65 stunning black and white photographs of the icons of the Kenyan wilderness. This is David Gulden's second monograph and the culmination of seven years work. With his masterful eye, he has perfectly captured the elegance and beauty of lions, elephants, zebras and giraffes in their natural habitat. With a title from a poem by acclaimed Irish poet W.B. Yeats, Nor Dread Nor Hope Attend includes text by Dr. Richard Leakey, journalist Fiammetta Rocco, and American artist Alex Beard.

Death in the Making will be a reprint of the original book published in 1938. With images by Robert Capa and Gerda Taro, it was a poignant tribute to the men and women, civilians and soldiers alike, who were fighting in Spain against Franco's oppressive and fascist insurrection. The book included only one year of images, but covered the spectrum of emotions of a civil war, from the initial excitement to the more harrowing realities of modern warfare. After World War II and the rising fear of Communism in the United States made association with the Spanish Civil War a liability, the book was forgotten. Today Death in the Making is newly appreciated for its call to arms against rising fascist threat. This new publication will replicate the original layout by photographer André Kertész, the original caption text by Capa and preface by writer Jay Allen, but will also dramatically improve the image quality of the first edition. The new edition will also include an essay with new information about the making and the reception of the original book and a complete checklist identifying the author, location and date of each image. One of the most significant revelations is that Death in the Making contained unattributed photographs by Chim, later known as David Seymour, friend and colleague of Capa. The book is a co-publication with the International Center of Photography.

Inspired by John Szarkowski's 1973 Looking at Photographs, and paying homage to the concept of the one hundred images and a page of text for each, Stephen Frailey now updates this classic with significant works of photography from early 80s to the present. Looking at Photography covers all genres of photography, and through discussing the process of the individual works Frailey - as photographer, editor and educator - articlulates the themes and sensibilities of contemporary photography. The book is illustrated with major works by acclaimed artists such as Tina Barney, Jeff Wall, Steven Meisel, Nan Goldin, Helmut Newton, Martin Parr, Tim Walker, Wolfgang Tillmans, among others.

Futuristic megalopolises, post-atomic sludge, urban ruins. These have been the subjects of Giacomo Costäs work since the early Agglomerati series with which he made his debut in the world of art in 1996. Since then all Costäs works have contributed to an imagery that uses the fascination of landscapes and their undeniably repellent beauty to reflect on the effects of human actions on the planet we live on. With his work, Costa does not offer us solutions or answers, but uses his ability to build fascinating and terrifying images to generate a restless state that encourages us to ask questions. Neither he nor any one of us has the answers; we must find them together. Hoping they take us in the right direction. Giacomo Costäs research initially began with the study of photography before moving gradually in a direction that has lost all contact with traditional technique, employing sophisticated digital techniques borrowed from the world of cinema. The new book, A helpful guide to nowhere, starts again from the beginning of Costäs work, focusing on the last ten years with many previously unseen and unpublished images.

In Oscar Wilde‿s Italian Dream 1875-1900, leading Wilde author Renato Miracco has combined written research with visual iconographic material - from Wilde‿s earliest heady trips to Italy as an Oxford student to his final days in France and Italy in 1900 after his incarceration in Reading Gaol, and his voluntary exile from Great Britain. Italy, and the larger world outside of London, was essential to the sensitivity and awareness of Wilde‿s identity, to his contributions to the prison reform, to his challenges to the social norms and sexual stereotypes in his last years. Latin formed the basis of a proper English gentleman‿s education-and Italy presented a landscape which animated and exacerbated social and personal conflict for young men such as Wilde. It also offered a great deal of sexual liberty compared to the oppressive moral atmosphere of England at that time. The images Miracco has incorporated in this volume (including photos that Wilde received from the gay German photographer, Von Gloeden) are mainly unknown from private collections, and together with letters, reminiscences, magazine and newspaper articles (along with derogatory articles about Wilde written by the Italian press) play a key role in placing Wilde‿s character, and an entire generation, in a complex context - not only literary, but also visual. Reading about Naples, Rome, Palermo, Sicily, and Capri of that time, you see it as it must have appeared in the eyes of the writer. Oscar Wilde‿s Italian Dream 1875-1900 is a major addition to the canon of one of the world‿s greatest literary figures. The introduction to the book is by Philip Kennicott the Pulitzer Prize-winning art and architecture critic of The Washington Post.

Allen Wheatcroft¿s first monograph, Body Language, explores the balance between connection and dislocation, which he observes while roaming city streets, camera in hand. Taken in Chicago, Sweden, Los Angeles, Berlin, and Paris, the book includes an introduction by renown New York City street photographer Jeff Mermelstein. The photographs emphasize gestures, movements, and expressions; a visual language without words. The viewer comes to wonder about, and empathize with, the loners and bankers, doormen and gym rats, tourists and sun bathers ¿ eager, perplexed, hurting ¿ who inhabit our cities. This project, which focuses on tension, loneliness, and synchronicity in contemporary life, uses the universal language of the body in the street.

The great documentary photographer Martin Parr collaborates with the duo behind "Toiletpaper" Maurizio Cattelan and Pierpaolo Ferrari, with these parties united by their visual wit, irony and irreverence across images which challenge the conventional gaze.

Los Angeles based photographer Sarah Hadley's Lost Venice is both an alluring and haunting portrayal of that majestic city as distilled through her personal lens of loss and nostalgia. She contemplates the paradoxes of Venice with evocative images that celebrate the magnificent architecture and its fragility. Hadley's unusual childhood and lengthy history with the city, coupled with the premature loss of her father who introduced her to Italy, have allowed her to channel Venice's ethereal nature with subtle intensity. Her dream-like images of dark waters and shadowy passageways emanate longing and conjure a forgotten Venice.

The artist's studio occupies a unique place in the popular imagination. Its environment is both the site of the artist's creative production, and a deeply private, personal space that nourishes and bears witness to the artist's working process, in a continuous interplay with its location, layout, interior and ambience. This rare access to the studio by a trusted visitor provides a unique opportunity to experience the lives of artists working in New York, through their methods, materials and influences, contained within the intimate space of the studio, and observed with an acutely sensitive eye. Artist Studios in New York - which Marco Anelli has been exploring since 2011 - leads the viewer into the creative process of internationally famous artists such as Alex Katz, Alfredo Jaar, Cecily Brown, Dan Colen, Elisabeth Peyton, Francesco Clemente, Jack Pierson, Joan Jonas, Joyce Pensato, Jonas Mekas, Jordan Wolfson, Julian Schnabel, Julie Mehretu, Kiki Smith, Lawrence Weiner, Mariko Mori, Marina Abramovic, Matthew Barney, Mickalene Thomas, Nate Lowman, Pat Steir, Rob Wynne, Robert Longo, Stanley Whitney, Tony Oursler, Ugo Rondinone, Urs Fisher, Vik Muniz.