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Christian Patterson—Photo District News

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Breakout Book of the Year: Christian Patterson’s Redheaded Peckerwood

In his highly acclaimed book Redheaded Peckerwood, Christian Patterson utilized different photographic styles and historical images and documents to create a psuedo-history of a killing spree.

Understanding how and why certain photographers and certain bodies of work manage to stick in our collective consciousness is a challenge in today’s what’s-next culture. Photographers now have more ways to get their work seen, but it’s also harder than ever to know what kind of exposure is most likely to help them achieve their goals. So what makes a photographer’s style or a body of work stick in people’s minds? How does their audience grow and expand? How does an idea in the head of a photographer spawn ideas in the heads of viewers and, eventually, make a mark on the medium?

In an effort to answer these questions we looked at six photographers and projects that seemed to be on everyone’s mind this year, and considered how and why. We also spoke with a handful of people—from editors to curators to branding experts—to find out how they discovered the projects they’ve championed. Below, we speak with Christian Patterson about his bookRedheaded Peckerwood.

The 1,500-copy first edition of Christian Patterson’s book Redheaded Peckerwoodpublished by MACK, sold out in January 2012, roughly two months after it debuted at Paris Photo in November 2011. A photographic retelling of the story of a two-month, multi-state killing spree undertaken by Charles Starkweather and his 14-year-old accomplice, Caril Ann Fugate, in 1958, the heavily researched book combines Patterson’s original photographs with historical documents and images, creating a subjective pseudo-history that plumbs the intersection of fiction and non-fiction storytelling.

Almost immediately after its publication, the book was included on the 2011 “best book” lists of several critics, noted collectors and other photography book experts. Patterson has since been busy with exhibitions and talks, andRedheaded Peckerwood has received numerous plaudits as well as a Rencontres d’Arles Author Book Award. Media outlets as diverse as The New York TimesVogue Hommes and American Public Media’s “The Story” program, among many others, have also featured it this year.

There is little doubt that Redheaded Peckerwood is an accomplished work of art—MACK books publisher Michael Mack compares it to Michael Schmidt’s U-NI-TY, Paul Graham’s A Shimmer of Possibility and Alec Soth’s Sleeping by the Mississippi in its ability to carry the book form “into a new space.” But Patterson also believes other major factors have contributed to the book’s success.

The true crime subject matter and the themes of “teenage angst and love and confusion and escape and violence and the loss of innocence” have fascinated and engaged people, Patterson says. And building awareness of the project among friends and colleagues has also played a major role.

Mack first saw the work in 2010 when a mutual friend recommended it to him. Patterson showed Mack an artist’s book version of the project, which he’d produced in an edition of ten, and sold and showed to people to gin up interest for the project. Mack, who receives a lot of recommendations—only a small number of which pan out—knew immediately that he wanted to publish the book. “There was a certainty in terms of his editing,” Mack says. “The story that he wanted to tell was there and clearly visible through the sequence, through the structure and through the visual elements.”

Patterson shared work from the project on his website and through social media as it was in progress. He also made and shared videos and photographs of his creation of the artist’s books, showing his network the printing and binding process. The artist’s books were included in book exhibitions and sold by Robert Morat Galerie at AIPAD in 2011. When he went on press as MACK printed the trade edition of the book, he documented and shared that experience as well.

A mutual friend was also responsible for introducing Patterson and his project to writer Luc Sante, who wrote one of two essays that accompany the book. “Luc was really great, very responsive, and was on board long before I had someone to publish the book,” Patterson recalls.

Karen Irvine, curator of the Museum of Contemporary Photography at Columbia College Chicago, wrote the other essay. Patterson connected with her early in his work on the project through Chicago-based artist friends who knew Irvine. When he would travel to Nebraska—where Starkweather and Fugate began the two-month killing spree that would end in Wyoming—to work, he stopped a couple of times in Chicago to talk with Irvine about the in-progress project. “She knew the work very well before the book was completed and I just made a point of continuing to share it with her,” Patterson recalls. “As it turned out, she was putting together an exhibition that dealt with crime, so this work turned out to be a perfect fit.” Some of the Redheaded Peckerwood work appeared in “Crime Unseen” at MoCP in October 2011.

Patterson had come to know Jeffrey Henson Scales, the photography editor ofThe New York Times’s Sunday Review section, while he was working for William Eggleston as an archivist. Patterson told Scales about Redheaded Peckerwood, and in September of this year, Scales published the work in the Sunday Review, which Scales says was a bit of a risk because of the highly conceptual nature of the book and the difficulty of representing the project using a limited number of images. “We got a lot of positive response, which was refreshing because that one was very different,” Scales notes.

Stories in places like The New York Times have continued to increase awareness for the book, the second edition of which was released in April 2012. “Everything started in the photography world and it has slowly expanded from there,” Patterson explains. “I’ve been invited to speak to classes that are not photography classes. They’re painting classes, philosophy classes, anthropology classes, so there are other people in other worlds that seem to be taking an interest in the book.”

The success of the book notwithstanding, Patterson believes it’s fair to callRedheaded Peckerwood a breakthrough for him as an artist. “There are certain people who knew of me or knew of my earlier work, but I feel like I have grown and matured as an artist and reached a new level with this work,” Patterson says.

“Coming from somebody who wasn’t known prior to the publication of this book, it’s been a great success by people seeing it, looking at it, reading it and realizing, ‘Wow this is really something quite special,’” Mack says. “That’s down to his work and the way that he’s seen it.

Text courtesy of Photo District News

William Eggleston: Los Alamos Revisited and Chromes now available at ROSEGALLERY

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Los Alamos Revisited

by William Eggleston


Between 1965 and 1974 William Eggleston and Walter Hopps traveled together in the US, Eggleston taking photographs, Hopps driving. During these travels the title Los Alamos was born. At the turn of the century Eggleston, Hopps,Caldecot Chubb and Winston Eggleston edited the photographs into a set of five portfolio boxes containing dyetransfer prints, which were produced in an edition of five with three sets of artist proofs. In addition to this selection, a further thirteen images were printed and released as individually available dye-transfer prints, which were referred to as “cousins” of the Los Alamos project. Hopps’ original vision was to make a vast exhibition of the project, but plans fell through and the idea was abandoned. At some point the negatives became separated, Hopps retaining roughly half of the project in Houston. Later Hopps carefully returned what was assumed to be the remainder of the negatives to Memphis and they were catalogued as Box #17. After Hopps’ death in 2005 his widow Caroline found another box of negatives that had never been accounted for. These were then catalogued as Box #83 and documented in a hand-made reference book called Lost and Found Los Alamos. In 2011, William Eggleston III (son of William) and Mark Holborn came together to review the now complete set of negatives for a final edit and sequence. They finished their sequence in Göttingen with Winston Eggleston in 2012. It is presented in its entirety in this three-volume set. An earlier edition of Los Alamos edited by Thomas Weski was published by Scalo in 2003. Weski’s original essay is included in this revised edition. Los Alamos Revisited has been drawn from the complete set of photographs, including the long lost negatives from Box #83.


by William Eggleston


William Eggleston’s standing as one of the masters of colour photography is widely acknowledged. But the gradual steps by which he transformed from an unknown into a leading artist are less well known. Steidl has undertaken to trace these steps in an ambitious series of publications. Before Color(Steidl, 2010) explored Eggleston’s revelatory early black and white images, while Chromes is an edit of more than 5,000 Kodachromes and Ektachromes taken from ten chronologically ordered binders found in a safe in the Eggleston Artistc Trust. This archive had once been used by John Szarkowski who selected the forty-eight images printed in Eggleston’s seminal book William Eggleston’s Guide, while the rest of the archive has remained almost entirely unpublished. This book presents Eggleston’s early Memphis imagery, his testing of colour and compositional strategies, and the development towards the ‘poetic snapshot’. In short, Chromes shows a master in the making.
Books now available at ROSEGALLERY
Text Courtesy of Steidl

Sarfati's She—On Shortlist for PhotoBook of the Year

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The thirty outstanding photobooks shortlisted for the Paris Photo–Aperture Foundation PhotoBook Awards were announced today in The PhotoBook Review 003, Aperture’s biannual publication.

In July 2012, Paris Photo and Aperture Foundation joined forces for the Paris Photo–Aperture Foundation PhotoBook Awards, which celebrate the book’s contribution to the evolving narrative of photography. This year, the awards focused on two categories: First PhotoBook and PhotoBook of the Year.

The ten shortlisted titles for PhotoBook of the Year are:

History Repeating Photographer: Ori Gersht Publisher: MFA Publications, Museum of Fine Arts, Boston

Retinal Shift Photographer: Mikhael Subotzky Publisher: Steidl

Rachael, Monique Photographer: Sophie Calle Publisher: Xavier Barral

(based on a true story) Photographer: David Alan Harvey Publisher: BurnBooks

City Diary Photographer: Anders Petersen Publisher: Steidl

Book of Books Photographer: Stephen Shore Publisher: Phaidon

Two Thousand Light Years From Home Photographer: Pietro Mattioli Publisher: Kodoji Press

Table of Power 2 Photographer: Jacqueline Hassink Publisher: Hatje Cantz

She Photographer: Lise Sarfati Publisher: Twin Palms

A Head with Wings Photographer: Anouk Kruithof Publisher: Little Brown Mushroom

Text and image courtesy of Aperture

Jeu de Paume — Lise Sarfati

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0/09/2012 : Rencontre avec Lise Sarfati et Quentin Bajac

La librairie du Jeu de Paume et les éditions Twin Palms Publisher ont le plaisir de vous inviter à une rencontre avec Lise Sarfati (photographe) et Quentin Bajac (conservateur en chef du departement de la photographie au Centre Pompidou) à l'occasion de la publication du livre "She" :

Jeudi 20 septembre 2012 à 19h

salle éducative du Jeu de Paume

"Pas de geste fort, pas de poses conventionnelles, pas de complicité avec l'opérateur non plus. On pose avec retenue, souvent sans regarder l'objectif. Et même quand on le fixe on ne semble pas vraiment le voir. On est ici et en même temps toujours là-bas, ailleurs. En refermant l'ouvrage, et tout bien réfléchi, on envisagera alors She comme l'anti-album de famille par excellence." Quentin Bajac, "l'anti-album de famille", copyright Quentin Bajac/Twin Palms Publisher 2012.

Text courtesy of Jeu de Paume

Martin Parr — Review

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Up and Down Peachtree: Photographs of Atlanta by Martin Parr — REVIEW

Martin Parr has long walked a fine line between sympathetic portraits of everyday life and voyeurism. Now he trains his English eye on main-street America.

Sean O'Hagan

The Observer, Saturday 21 July 2012

Snacking at the Georgia State Fair – a snapshot of life in Atlanta, through the eyes of Martin Parr. Photograph: Martin Parr/Magnum Photos

At home and abroad, Martin Parr is one of Britain's most famous photographers. He has chronicled our everyday life since the 1970s, turning his relentlessly curious eye on the eccentricities and vulgarities of every class and every corner of Britain.

When his first book of colour photographs, The Last Resort, was published in 1986, his detractors accused him of exaggeration and patronisation, claiming that he portrayed the New Brighton seaside town as a kind of working-class hell of junk food, ugly people and litter-strewn streets, made all the more nightmarish by Parr's use of close-up and garish colours. Time changes everything and, today, The Last Resort is considered an important document, unflinching in its gaze and heightened in its atmosphere, but neither cynical nor exploitative.

Parr's vision has deepened and widened since 1986, while somehow staying essentially the same. His signature is as recognisable as any in the contemporary art world and his energy – for collecting photographs, photo books and photographic ephemera, as well as for curating festivals and championing the form – seems at times superhuman. In Europe, he is viewed with a mixture of fascination and admiration, as a kind of archetypal Englishman, despite the fact that his Englishness is of the wilfully old-fashioned socks-with-sandals variety. At home, he continues to divide opinion like few other photographers.

Having recently turned his relentlessly curious eye on globalisation (he photographed the vast Beijing car show for theObserver in 2008), Parr now gives us his photographic portrait of Atlanta, Georgia, "the symbolic capital of the American south". Up and Down Peachtree (the title refers to the city's main thoroughfare, Peachtree Street) is an intriguing book, not least because, apart from the odd up close and garish image – mustard- and ketchup-splashed hotdogs on a red plastic plate, a cross-section of a layered, multicoloured cake, grease-stained mouths devouring greasy snacks – it is somewhat restrained in its depiction of everyday American excess. There are several pictures here that are intimate but not intrusive, many of them depicting people deep in quiet or animated conversation at religious or social gatherings. Here and there, Parr nods to the master of the American quotidian sublime, William Eggleston: the open boot and chrome tailfins of a rusting vintage car; the mundane Sunday school noticeboard – "Attendance last Sunday 9".

Several images suggest the various conflicting narratives of American political life as they are played out in a major city: a smiling, middle-aged woman holds a placard that reads "I Heart My Gay Sons", while on the opposite page a man holds a banner protesting against gay marriage – "I now pronounce you pervert and pervert".

Parr photographs in churches, bars, supermarkets and fast-food joints, but it is on the streets that the myriad small dramas he captures seem most alive, even when their meaning remains elusive. Sometimes, the people in these public vignettes seem like actors in a strange, dreamlike drama: a trio of stationary women caught at a bus stop or at a traffic light might be listening to a funeral service, so stern and contemplative are their expressions.

For all that, the Atlanta depicted here is still a version of Parrworld, that now-familiar place that may still put off as many viewers as it intrigues.

Text and image courtesy of The Observer at The Guardian

Lise Sarfati Book Signing

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Lise Sarfati: She to Launch at ARTBOOK @ Paper Chase

ARTBOOK @ Paper ChaseRose Gallery and Twin Palms Publishers invite you to the launch party for Lise Sarfati’s new monograph, She.

Wednesday July 25, 2012 7:00 pm

Gina #01, Emeryville, CA From the series She, 2007

Please join us for presentation of Sarfati's new body of work, followed by a conversation with curator Joshua Machat and a book signing.

ARTBOOK @ Paper Chase 7174 Sunset Boulevard (corner of Sunset and Formosa) Hollywood, California (323) 969-8985

This event is FREE and open to the public, but RSVP is required, and will be accepted until venue capacity is reached.

Christian Patterson

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Redheaded Peckerwood and MACK have been awarded the 2012 Recontres d'Arles Author Book Award, which goes to the best author project for a contemporary photography work.


Redheaded Peckerwood has been selected for inclusion in The Photobook: A History, Volume 3, the forthcoming third installment of the seminal study of the major trends and movements that have shaped the photobook genre since the birth of photography, as selected by Gerry Badger and Martin Parr.


The second edition of Redheaded Peckerwood includes a few subtle changes, several notable enhancements and some additional visual content to be discovered. The book can be found at stores carrying MACK books worldwide.


Radio Interview: “Redheaded Peckerwood,” The Story (American Public Media), 22 Jun 2012.

Selected Reviews: Blaustein, Jonathan. “This Week in Photography Books: Christian Patterson,” APhotoEditor, 23 Jun 2012. Azoury, Phillippe. “Obsession Part IX: Le Fait Divers,” Vogue Homme, Mar 2012.


Redheaded PeckerwoodSound Affects (Double solo exhibition) Robert Morat Galerie, Hamburg, Germany, September 8-October 27, 2012

Panel Discussion and Book Signing with Luc Sante and Michael Mack The School of Visual Arts, New York, NY, September 26, 2012 (On the eve of the opening of the 2012 NY Art Book Fair)

Paris Photo Robert Morat Gallery and Rose Gallery will present selections from Redheaded Peckerwood. Grand Palais, Paris, France, November 15-18, 2012

Redheaded Peckerwood Rose Gallery, Santa Monica, CA, February 22-March 23, 2013

Lise Sarfati: She — New Monograph from Twin Palms Publishers

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Essay by Quentin Bajac,Chief Curator of Photography, MoMA

A family album preserves only carefully selected photographs. Out of an entire life, it stores only handpicked moments, privileging special occasions, happy ones usually, and consigning the rest to oblivion: happy faces, relaxed moments, places of leisure rather than work. It tends to underline a group's social links and affective relations, to highlight an identity, a communal spirit, a shared life and destiny. The portrait of the couple or group, with all its attendant conventions, is one of its inescapable figures. The family album tries to register the evolution of a particular human community, to write its story and scan the passage of time with each succeeding page. None of this figures in She: instead of a chronology, time is stopped, it appears to stammer and bite its own tail. There is no group photo or desire to stage a collective destiny, but only isolated models and individuals who do not seem to communicate amongst themselves, or only barely; no happy moments or picturesque places, only indifferent moments in ordinary places; no strong gesture, none of the conventional poses, and no complicity with the photographer. The models pose, but reservedly, more often than not without looking into the camera. And even when we do see their faces, we don't really seem to see them. They are here, but they are always there, elsewhere. When we close the book and think a bit about it, we cannot but see She as the anti-family album par excellence.

Text courtesy of Twin Palms Publishing.

Graciela Iturbide — RM/ Museo Amparo Monograph

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Since 1975, Graciela Iturbide (born 1942) has been esteemed as one of Latin America’s most important photographers. In 2008 she won the Hasselblad Award, the world’s most prestigious prize in the field of photography. Accompanying a 2012 exhibition at the Museo Amparo en Puebla in 2012, for which the photographer made an exhaustive trawl of her archive, this beautifully printed volume juxtaposes a trove of previously unpublished photographs with reproductions of contact sheets of some of Iturbide’s best-known images. The book is accordingly divided into two sections separated by a double binding. The first groups her works into four themes that have endured in her work from the very beginning--children, rituals, urban spaces and gardens. The second section is comprised of the contact sheets of her well-known OaxacaBirds and L.A.series.

Image and text courtesy of Artbooks

Martin Parr — New Monograph

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Martin Parr's monograph Up and Down Peachtree captures moments from everyday life in Atlanta, Georgia. This volume accompanies the exhibition Picturing the South at the High Museum of Art, Atlanta, which features this work alongside other commissioned projects by contemporary artists Kael Alfrod and Shane Lavalette.

For more information about the High Museum exhibition and its artists, click here.

Lise Sarfati’s “She”: Portraits of Four Women- The New Yorker

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The view from The New Yorker’s photo department.

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For this week’s issue, Lise Sarfati photographed the concert pianist Hélène Grimaud for D. T. Max’s Profile; earlier this year, Sarfati photographed the feminist writer Élisabeth Badinter for Jane Kramer’s Profile. “Even through Élisabeth did not like to have her photograph taken, she opened her world to me,” Sarfati told me. “Hélène was different: a sort of star in the sky. Right away she was more distant and enigmatic.”

To my eye, these two intimate views echoed Sarfati’s portraits of the four women in her recently completed body of work “She.” Sarfati photographed Christine, her sister Gina, and Christine’s two daughters Sloane and Sasha over the course of four years, in California and Arizona. “Each woman is photographed alone and acts like a mirror to the others or to herself,” Sarfati said. “I was interested in Christine’s instability, Sasha’s melancholy, Sloane’s capacity for transformation, and Gina’s gender ambiguity.” Here’s a selection from her forthcoming book, to be published by Twin Palms this fall. Sarfati will have a solo exhibition at Rose Gallery, Los Angeles, in spring 2012, and her work can be seen in Rose Gallery’s booth at Paris Photo this November.

Read more

“Gina #12 Oakland, CA” (2009)

“Sloane #06 Oakland, CA” (2005)

“Christine #21 San Francisco, CA” (2005)

“Sasha #07 Phoenix, AZ” (2007)

“Christine #11 San Francisco, CA” (2005)

“Christine #13 Oakland, CA” (2009)

“Christine #10 Hollywood, CA” (2006)

“Sloane #66 Oakland, CA” (2009)

“Gina #24 Oakland, CA” (2007)

“Sloane #16 Oakland, CA” (2007)

“Sasha #20 Emeryville, CA” (2007)

“Sloane #62 Oakland, CA” (2007)

Bruce Davidson: Subway

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13 September 2011
By Phil Coomes Picture Editor

Going underground once more

New York subway

Returning to work after a summer break is always tough. There's the mound of post to wade through and an inbox crammed with thousands of emails to check but when I arrived back in the office a couple of weeks ago I had a treat in store, as on my desk was a new book, Subway by Bruce Davidson.

Now, many among you are probably saying it's not a new book at all but a re-print of an old one, and indeed it is, or to be more accurate an updated version of one first published in 1986.

New York subway

The book comprises more than 100 pictures taken by Davidson while riding the subway in New York in the first half of the 80s, a time when it was notorious for crime and some wild graffiti.

Initially he worked in black and white but thankfully soon switched to colour and the result is spellbinding.

Grey caverns lit up by splashes of colour, spaces populated by startled passengers and always a feeling of unease.

Some of those captured are smiling for the camera, others are caught off guard, and some carry the expression you only see on public transport - a vacant stare as eye contact is avoided and they dream of a happier place.

Though Davidson's photographs can't record the sounds, heat and smell of the place, they somehow allow you to feel the intensity of the space.

It is as though you can hear the squeal of metal on metal.

New York subway
Those perfect yellows captured on Kodachrome film

The front of the book contains an essay by Bruce, fascinating it is too.

He notes the practical aspects of the project, including his hard work to get fit before entering the underground maze to ensure he could cope with the daily pressures, through to anecdotes of his encounters.

Each day he'd pack his cameras, film, flash, notebooks and most importantly a book containing pictures he'd already shot, something he could show to potential subjects.

He was aware of the dangers of working in such an enclosed space and writes: "Passengers on the platform looked at me, with my expensive camera around my neck, in a way that made me feel like a tourist or deranged person."

New York subway
Bruce Davidson: "The subway interior was defaced with a secret handwriting that covered the walls, windows and maps. I began to imagine the signatures surrounding the passengers were ancient hieroglyphics."

He had a number of ways to approach a subject, but the key point was that he had to act on impulse and not linger, as that created a barrier that was hard to overcome.

Working with a large flash, there was no hiding what he was doing and so in some cases he would seek permission, and in others hope that the subject would react favourably if he shot first.

He also made a point to send a print to as many of those he photographed he could.

The pictures are now more than 25 years old and capture a unique time and place, yet the project is one that all students of documentary work should study deeply.

The underground network provided a tight framework and acts as a stage upon which he could cast the players to fill his world.

It's good honest photography, no tricks, just hard work, all captured by one of the great photographers of the 20th Century.

Subway by Bruce Davidson is published by Steidl. You can see more of his work on the Magnum Photos website, his book of pictures of East 100th Street being another work worth a detailed look.

Guardian Angels on the New York subway
Guardian Angels first made an appearance on the New York subway in 1979 in an attempt to quell rising levels of violence.

Photographmag - Rinko Kawauchi: Illuminance Book review by Vince Aletti

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Rinko Kawauchi’s Illuminance (Aperture) could be the year’s most beautiful photo book. Her 12th since 2001, when she published three books simultaneously, it’s culled from 15 years of work and loosely tied to the theme of light. Typically, her subjects are both ordinary and extraordinary: a burning cigarette, a suckling baby, a dead bird, a drop of water on a lily pad, a lunar eclipse. In a sequence of radiant color images that feels at once deliberate and random, she strikes an ideal balance between weight and weightlessness, the concrete and the ephemeral. David Chandler, the book’s elegant essayist, identifies Kawauchi’s “highly personal, insatiably hungry form of photography, both euphoric and startled,” as part of “a new kind of visual communication, a new language...that is diaristic, uninhibited, interpersonal, and emotionally charged.” But he also places her squarely within the Japanese photo-book tradition that gives publications priority over exhibitions. With Illuminance, Kawauchi clarifies what Chandler calls her “spirit of accelerated wonder,” summing up her considerable achievement while leaving it marvelously expansive and open-ended.

William Eggleston: Before Color

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William Eggleston: Before Color

by Alison Zavos on July 14, 2011

A few years ago in the archives of the William Eggleston Artistic Trust in Memphis, a box was found containing Eggleston’s earliest photography – remarkably in black and white. The photos were subsequently exhibited at Cheim & Read gallery in New York and sold. This book, Before Color, published by Steidl reunites these photos in their entirety, and shows the artistic beginnings of a pioneer of contemporary photography.

In the late 1950s Eggleston began photographing suburban Memphis using high-speed 35 mm black and white film, developing the style and motifs that would come to shape his pivotal color work including diners, supermarkets, domestic interiors and people engaged in seemingly trivial and banal situations.

Now, fifty years later, all the plates in Before Color have been scanned from vintage prints developed by Eggleston in his own darkroom. In the mid 1960s Eggleston discovered color film and was quickly satisfied with the results: “And by God, it worked. Just overnight.” Eggleston then abandoned black and white photography, but its fundamental influence on his practice is undeniable.

All photos are from Before Color: William Eggleston, published by Steidl.

Martin Parr's Best Books of the Decade

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PhotoIreland Exhibtion

15 July - 31 July

In July 2011, PhotoIreland will present ‘Martin Parr’s Best Books of the Decade’, an exhibition of 30 publications from all over the globe, hand-picked by the world-famous photographer and photographic bibliophile. These photobooks have not only fantastic images, but also have exceptional production value, and became classics of their own time. Often quite radical, and sometimes taking time to fully appreciate their merits, all of these books are bound to go down as important contributors to the ongoing photographic book culture.

Text and image courtesy of PhotoIreland.

Graciela Iturbide: No Hay Nadie, There is No-One

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Photographs by Graciela Iturbide.

Text by Oscar Pujol.

La Fabrica, 2011.

Graciela Iturbide (born 1942) is Latin America's most internationally admired photographer, as her receipt of the 2008 Hasselblad Foundation award confirmed. Although she is best known for her serial portrayals of her native Mexico, one of Iturbide's most popular individual photographs is “Perros Perdidos” (or “Lost Dogs” ), an image of several dogs in silhouette on a rocky outcrop taken in India in 1998. Graciela Iturbide: No Hay Nadie/There Is No-Onereveals the Mexican photographer's extended explorations in (mostly) cities in the north of India--Varanasi, Delhi and Calcutta, as well as Bombay--over the past 13 years. Iturbide's black-and-white images are strikingly at ease with their subject matter, able to locate arrangements of objects, architectural outline and urban signage without ever lapsing into visual tourism.

Text courtesy of Artbook.

This book is scheduled to arrive in October 2011.