Bøger udgivet af Damiani

Humanity in the Street: New York City 1960-1989 documents the resilience and power of the multiracial humanity that American photographer Builder Levy experienced in the city streets of New York during these decades. At that turbulent time, people around the world were struggling for freedom and independence and throughout United States people were marching in the streets for improving their life conditions. This exhaustive monograph gathers pictures that Levy took during the Civil Rights and anti-Vietnam protests in the 1960s, the peace march that was held in 1962 in response to the Cuban Missile Crisis; the poverty-ravaged Brooklyn of the 1960s, 70s and 80s; the inner city communities where he was a New York City teacher of at-risk adolescents for 35 years; Martin Luther King at Reception in 1968 after the W.E.B. Du Bois Centennial Tribute at Carnegie Hall where he gave the keynote speech; and marches and demonstrations in support of the Freedom struggle; for a NYC civilian review board and to stop police killings; for quality education for all NYC children, and against NYC school segregation.

David Casavant, stylist and founder of the eponymous clothing archive in New York, expands beyond his fashion and celebrity collaborations to produce a book between artists and the archive along with still lives of favorite pieces. A select number of creators including Xavier Cha, DeSe Escobar, Maggie Lee, Eric Mack, Ryan Mcnamara, Joyce NG, Raul de Nieves, Hanne Gaby Odiele, Jacolby Satterwhite, Ryan Trecartin, Wu Tsang and Boychild, Stewart Uoo, and Kanye West were invited to select items from the Archive to serve as an inspiration for their original works of art. The David Casavant Archive is a private collection of the world's rarest and most culturally potent contemporary design. The Archive focuses primarily on the work of conceptual menswear designers from the late 90's into the 2000's, notably Helmut Lang and Raf Simons. Begun in Tennessee at age 14 and curated over the span of more than a decade, the Archive distinguishes itself through Casavant's curation informed by his distinct vision of youth, attitude, and restraint. Although a private archive, it loans its pieces to select individuals within the sphere of current culture. This new catalogue is a natural extension of Casavant's vision to make fashion accessible, alive, and relevant for the current time. This marriage of fashion and art across various mediums is a unique, new and innovative approach to how we view what we wear. The project is about optimism and showing how different creative people can come together to create something special with many unique voices.

Greece. Fifty years ago James Klosty travelled among its islands, across its mainland, and through its northern mountains. He had no idea where he was and didn't particularly care. Fifty years later Klosty rather regrets not taking notes but feels strongly that he, personally, has nothing to say about Greece that has not already been said many times. Thus there are no texts. Only the syntax of his photography. However as these images all originate from two brief months in the summer of 1966, the world depicted might amount to a lost language of its own.

A brief movement after death by Caleb Cain Marcus explores the release of energy from the body into the universe when we die. The images were taken along the coasts of New York and California and contain sky and ocean-immense bodies of space that we can lose ourselves in; becoming part of their vastness. The inspiration for the book came to the photographer from a personal experience. With the birth of his daughter, his death suddenly felt very near. His childhood questions about what happens when we die resurfaced and Marcus began to think about how to visually represent what occurs after death. The work represents the starting point of his new practice that juxtaposes digital and hand-applied mediums to create a hybrid surface, color and edge that challenges the medium of a photograph and the way in which it is seen, understood and felt. With the motion of a pendulum the grease pencil is swung by a string to make tightly grouped marks that reference the finite quantity of time in a lifespan and that move across the paper as if in a formation of light leaving the earth.

This long overdue monograph presents a panorama of portraits from the photographer William Coupon. Coupon was given wide access to artists, musicians, politicians, authors, and the world's indigenous people on assignment from major publications like Time , Rolling Stone , The New York Times , Esquire , and The Washington Post . He photographed his subjects against a mottled backdrop of hand-painted Belgian linen, often in a classically lit medium shot format, inspired by Dutch masters such as Rembrandt and Holbein. Coupon has remained true to this method, whether working in the Oval Office in Washington D. C. or a tribal hut amongst the Pygmy in the Central African Republic, or the Caraja in the Brazilian Amazon. Environmental images compliment the more formal portraits. Portraits includes iconic images of Mick Jagger, Miles Davis, Elie Wiesel, David Byrne, Presidents Nixon, Carter, Bush, Trump, George Steinbrenner, Jean Michel Basquiat, Andy Warhol, and Prince Philip among many others from Haiti, Panama, Holland, Northern Scandinavia, Australia, Malaysia, Turkey, Italy, Peru, Mexico and other places. Coupon has created a collection that documents his times but also captured his generation in all its vibrancy. In his work, he seeks to present a truly egalitarian portrait of humanity integrating common people with the wealthy, powerful, and famous.

A photographic collection following the 2016 cortege of Fidel Castro, edited by Martin Parr with text from prominent Che Guevara biographer Jon Lee Anderson.

Caleb Cain Marcus, a photographic artist living in New York City, has a practice rooted in photography that is centered around color which he explores through material and surface, and the tangible presence of space as a connector with the universe. His work juxtaposes the inkjet medium with hand applied mediums to produce color that is immersive, sensory and poetic. Through this physical intervention of the photographic paper, each print becomes unique. His work is in the permanent collections of the Metropolitan Museum of Art, Getty Museum, Museum of Fine Arts Houston, the High Museum of Art and others.

Ken Van Sickle was born in 1932 in New Brunswick, New Jersey. He learned the basics of drawing, painting and composition from his grandfather and later studied under George Grosz at the Art Students League and cubist painter Andr¿hote in Paris. Van Sickle came early to photography, worked with Robert Frank and exhibited with Duane Michaels, is known for his atmospheric images of New York and Paris. His travels to France heavily influenced his work, manifesting a pastoral and salon style appeal. Although decades have passed since Van Sickle¿s photography work has been exhibited, in the past his works have been shown in prestigious museums and galleries including Limelight Gallery (New York) in 1958, the very first photography exhibition at Metropolitan Museum of Art (New York) in 1960, Witkin Gallery (New York) in 1980, Soho Photo Gallery (New York) in 1988, and Galerie Thierry Marlat (Paris, France) in 2000. Van Sickle also has an extensive film career and has worked on numerous cinematography projects including The Making of The Lion King in 1994, Marjoe in 1972, and commercials for international brands.

In today's world of endless photographing, tagging and posting images online, what is a pre-teen girl's relationship to the camera? Upending assumptions of contemporary digital image-making practices, photographer Rania Matar (born 1964) reframes these young women through her poignant portraits of them, revealing in L'Enfant-Femme how girls between the ages of 8 and 13 interact with the camera and in so doing depicts them in deeply personal and poetic ways. Addressing themes of representation, voyeurism and transgression, these images remind us of the fragility of youth while also gesturing toward its unbridled curiosity and joy. Photographing girls in the Middle East and the United States, Matar makes us examine our universality, a beauty that transcends place, background and religion. Candidly capturing her subjects at a critical juncture in the early stages of adolescence, Matar conveys the confluence of angst, sexuality and personhood that defines the progression from childhood into adulthood.

For over 35 years, Brazilian photographer Klaus Mitteldorf (born 1953) has been at the forefront of fashion and fine-art photography, noted for his visual aesthetic that combines reinvention with a relentless curiosity for the limitations of the medium. Whether in his early photographs from the 1970s documenting the surf culture of São Paulo and Rio de Janeiro, or his later editorial work for publications such as Vogue Brasil, Mittledorf's images are celebrations of light and the human form. With Next, the artist once again pushes the boundaries of photography, eschewing traditional forms while radically recasting everyday urban scenes into vibrant, graphically layered images that recall the pioneering works of László Moholy-Nagy and Man Ray.

For more than 35 years, photographer Michel Comte (born 1954) has been one of the most in-demand editorial and fashion photographers in the world. Since 2006, he has worked almost exclusively with Milk Studios on photography and film projects. With the advantage of a base of operations at the Milk Studios in New York City and Los Angeles, Comte has found the freedom to work outside of and transcend the limitations of the traditional "fashion photographer" role, working in fashion, portraiture, reportage and now motion pictures. "Whether Michel has a Hollywood celebrity or an orphan from the Third World in front of his lens," said Tina Brown, former editor-in-chief of the New Yorker, "he takes both their pictures with the same sincerity and devotion." Published on the occasion of the 20-year anniversary of Milk Studios, this deluxe clothbound volume was designed by creative director Mike Meiré, whose own 25-year career working at the nexus of culture and design is the stuff of legend. Featuring images from Comte's legendary archive, including previously unpublished behind-the-scenes imagery and film stills, Michel Comte and Milk: A Collaboration 1996-2016 is a celebration of passion, storytelling and the creative process.

Developing a narrative through multiple original texts and more than 100 photographs made on damaged, burnt film, Julien Levy's series takes the form of a three-year-long diary, spanning locations including Tokyo, Seoul, New York and Paris. The delicate, washed-out colors and visible defects in the film give Levy's photos a dreamlike quality.

Between 1977 and 1980, photographer Charles H. Traub (born 1945) ventured onto the streets of Chicago, New York and various European cities to take photographs of their inhabitants--male and female, young and old-at lunchtime. Colorful and direct, animated and intimate, the portraits are shot close to the subjects, composed seemingly off-the-cuff, focusing on just their heads and shoulders. Each subject reveals something of himself or herself to the camera: the woman who takes the opportunity to pose in dignified profile or the one who purses her lips in an exaggerated pout, even the somewhat less fortunate subjects caught adjusting their glasses or blinking. Charles H. Traub: Lunchtime is the first comprehensive publication of these striking color images, which were exhibited in the early 1980s in Chicago, New York and Milan. This volume maintains the cheerfulness and joy of the series, with lively pairings of photographs encouraging viewers to associate one individual with another in a new narrative of the street.

French photographer Ludovic Cesari (born 1984) creates sublime, out-of-focus landscapes and body portraits, collected in this substantial hardcover volume. Far from treating his body photography and landscapes as separate genres, Cesari unifies them; textures of skin, stones and photographic paper create a celebration of sensuality.

New York-based photographer Caleb Cain Marcus journeyed 1,500 miles along the Ganges River to create Goddess, a bold feat of landscape photography. Profoundly painterly, Marcus' images emphasize color, light and atmospheric conditions to explore the tangible quality of space in India and Bangladesh.

David Seltzer's images, often personal and frequently graphic, address questions of love, lust, God, art and the human soul. Working primarily with analog technology, Seltzer often layers the photograph by etching the negative itself, and/or by applying various media to the print.

Eric Maillet (born 1957) chose the title of this volume to highlight the relationship between his diptych images. A completely self- taught photographer, Maillet has cultivated a style influenced by the work of Brodovitch and Rodchenko.

Reda: 150 is the story, told in photographs, of how raw wool reaches Italy to turn into the finest fabric. Conceived on the occasion of Lanificio Reda's 150th anniversary, the volume enlists the visions of photographers Olivia Arthur, Paolo Pellegrin, Gueorgui Pinkhassov, Mark Power and Alex Majoli.

This Time, by New York--based photographer Yana Toyber, explores the concept of time and its connection with nature. Shot with instant Polaroid film from the Impossible Project, the three-year-long project includes portraits, environmental landscapes, nudes and nostalgic still-life moments.

Twenty years ago Traub abandoned all pretense of trying to find specific themes and subjects in his photographic wanderings other than to make Taradiddles, embracing fully the digital image which is always questioned for its further and inherent potential for distortion. Ironically, the witty and sardonic juxtaposition of Traub's images, are only a matter of framing his discoveries - here, there and everywhere. This volume is a collection of trifles that become matters of remarkable social commentary when Traub photographs them - "For me, serendipity, coincidence and chance are more interesting than any preconceived construct of our human encounters." (Charles H. Traub) - in a hundred plus images Traub seems to have captured the common incongruities of a global society. Traub took these pictures in more than 60 cities around the world: Dubai, Shanghai, Beijing, Rome, Tunis, Buenos Aires, Budapest, Moscow, St. Petersburg, Santo Domingo, New York, just to name a few.

Mistral is a portrait of Provence seen through its legendary wind. Photographer Rachel Cobb illustrates the effects of this relentless force of nature that funnels down France's Rhône Valley, sometimes gusting to hurricane strength. The mistral is not just a weather phenomenon: it is an integral part of the fabric of Provençal life impacting its architecture, agriculture, landscape and culture. Houses have few or no windows on the northwest, windward side and the main entrance on the southern, sheltered side. Rows of trees lining fields create windbreaks to shield crops. Artists have long been drawn to the area for the clear skies that follow a mistral. Nobody who lives or spends time in the region can escape the mistral. It is everywhere yet nowhere to be seen. How do you photograph the wind? With images of a leaf caught in flight, grapevines lashed by powerful gusts ("You can taste the wine better when there's a mistral," a winemaker says), a bride tangled in her veil, and even spider webs oriented to withstand the wind. Out of thin air Cobb makes us feel the unseen. Including an introduction by Bill Buford and an excerpt from Paul Auster about his life in Provence. Cobb draws from writing by Jean Giono, Frédéric Mistral and others. The book is designed by Yolanda Cuomo Design, NYC.

David Shama's first monograph Do Not Feed Alligators takes us on an existential journey into the decayed post-capitalist topography of a largely forgotten America- one where he presents youth engaged in achingly commonplace activities. There is an overarching sense in all of these pictures that his subjects are the angel-headed hipsters of a generation that has somehow been left behind, traversing what is left of a tragic, broken landscape-their thousand-yard stares seeking Elysian fields glinting seductively in the setting sun of their minds, far beyond the edge of the world. Shama employs Americana to map a narrative of existence among the flotsam and jetsam of society, where abandoned cars, vacated diners and dive motels act as the leitmotif of a journey into being and nothingness. While there are flashes of naturalistic beauty in the way in which his young muses are caught in the eye of his lens, there is no sentimentality, rather every frame contains a haunted, limbo-esque atmosphere. These figures, we are always aware, count their number among the beautiful and the damned. Ultimately, Do Not Feed Alligators seeks to suggest that we are all on a metaphorical road to nowhere- an apocalyptic landscape of the soul that is both beautiful in its mundane temporality, and boundless in its potential for quietly enticing mythology. Frecnh: La première monographie de David Shama, Do Not Feed Alligators, nous entraîne dans un voyage existentiel à travers la topographie post-capitaliste délabrée d'une Amérique largement oubliée - une Amérique où il présente de jeunes gens engagés dans des activités extrêmement banales. Il y a un sentiment général dans toutes ces images que ses sujets sont les anges branchés d'une génération qui a été en quelque sorte laissée pour compte, traversant ce qui reste d'un paysage tragique et brisé - leurs regards lointains scrutent les champs élyséens qui scintillent séduisants dans le soleil couchant de leurs esprit, bien au-delà des frontières du monde. Shama utilise l'Americana pour cartographier un récit sur l'existence au sein d'une société perdue, où les voitures délaissés, les restaurants abandonnés et les motels bon marchés sont le leitmotiv d'un voyage dans l'existence et le néant. S'il y a des éclairs de beauté naturaliste dans la façon dont ses jeunes muses sont prises dans l'oeil de son objectif, il n'y a pas de sentimentalité, mais plutôt une atmosphère hantée et limbesque. Ces personnages, nous en sommes toujours conscients, comptent parmi les beaux et les damnés. En fin de compte, Do Not Feed Alligators cherche à suggérer que nous sommes tous sur un chemin métaphorique vers nulle part - un paysage apocalyptique de l'âme qui est à la fois beau dans sa temporalité mondaine et illimité dans son potentiel pour séduire tranquillement par sa mythologie. Spanish: Spanish: Un viaje hacia la América olvidada es la nueva propuesta de David Shama, un fotógrafo suizo que se entrega de lleno a cada trabajo que realiza. Do Not Feed Alligators es el primer libro monográfico que publica, una verdadera experiencia emocional para el espectador. Coches abandonados, restaurantes sin comensales y moteles destartalados constituyen el paisaje decadente de una sociedad postcapitalista. En medio de una rutina gris, jóvenes que conservan aún la belleza de los que creen en sus sueños. La temporalidad nos atrapa en un camino hacia la nada y Shama presenta esta realidad embrujada para transportarnos al espacio sin límites de la mente humana. David Shama es más conocido por su trabajo en el mundo de la moda, pero des del 2005 no ha parado de fotografiar la vida en su expresión más espontánea y natural. El artista parece tener una capacidad innata para hallar belleza en lo ordinario, en lo raído, y cargar de emoción cada una de sus fotografías; quizá por ello se ha hecho un nombre en el mundo del fotoperiodismo, ha expuesto en varias galerías y publicado en distintas revistas. Uno de sus particulares proyectos en busca de la espontaneidad ha consistido en crear series fotográficas a partir de rutas de una semana con chicas a las que acababa de conocer. En ellas, el viaje y el descubrimiento de nuevos paisajes iba acompañado del viaje simultáneo hacia el mundo interior de las modelos.Cada una de las imágenes de Shama es el reflejo de su propia fascinación por lo auténtico, un lenguaje visual sin pretensiones capaz de conmover a cualquiera. Ahora, el fotógrafo nos seduce con Do Not Feed Alligators, un relato acerca la existencia humana desde una veracidad y una cotidianidad estremecedoras.