Damiani

Following the success of ToiletMartin PaperParr and ToiletAlex PaperPrager, ToiletMiles PaperAldridge is the third magazine collaboration from Toiletpaper duo Maurizio Cattelan and Pierpaolo Ferrari. British photographer Miles Aldridge has developed an editorial style that is both couture and chromatic but also surreal. He is influenced by the films of Federico Fellini and David Lynch and the photography of Richard Avedon, as well as the album covers and book designs created by his father, Alan Aldridge. As one of Aldridge’s own inspirations, David Lynch, once said of his work: “Miles sees a color-coordinated, graphically pure, hard-edged reality.” This latest issue of Toiletpaper sequences a selection of Aldridge’s glamorous and elaborate mise-en-scene images in a palette of vibrant acidic hues.

Uniting the work of two “sculptors of dresses” whose formal principles and monochromatic fabrics crafted timeless designs Determined to a lifetime of seclusion spent entirely in the workshop, Madame Gres (1903–93) saw herself as a sculptor. Azzedine Alaia (1935–2017) also studied sculpture at the School of Fine Arts in Tunis. This shared passion for sculpture was kept intact through their journey in the fashion system to which they dedicated themselves with such singularity and success. While there is no evidence that the two couturiers ever crossed paths, their creations undoubtedly did. Apostles of a certain form of simplicity, the seemingly simple creations of Gres and Alaia hide an inherent complexity in their cut and design. For the first time, this publication brings together 60 designs by Madame Gres and Alaia. United by their formal principles, their cutting techniques and the harmonious combinations of fabric and colors they commonly embraced, the clothes by both couturiers invite readers to a lesson beyond fashion.

A fruitful marriage between the visionary world of Toilet Paper and the uncanny imagery of artist, director and screenwriter Alex Prager The latest issue of Toilet Paper magazine features 12 images by Alex Prager juxtaposed with 12 images conceived by the team at Toilet Paper. The magazine’s alluring aesthetics, vibrant colors and playful visual deviations enter into a reciprocal conversation with the technicolor universe of Alex Prager’s work. Prager’s exploration of the delicate boundary between reality and fiction, utilizing her distinct blend of archetypes, everyday objects, humor and allegory, forms the core of a tantalizing and enigmatic journey. This new magazine follows ToiletMartin PaperParr (2018), a special publication that collected the most iconic images from the prolific archives of the internationally renowned artist Martin Parr and the Cattelan-Ferrari duo.

A comprehensive monograph on the work of a pioneering New York subway artist This volume presents a sweeping overview of the monumental work of Puerto Rican–born artist Lee Quinones over the past five decades. When Quinones made his first spray paint mural in the New York City subway system, he was just 14 years old. He eventually spray-painted murals on over 120 subway cars, infusing kinetic elements of Futurism into his illustrations. These highly visible graffiti works served as a catalyst for what is now acknowledged as the Street Art movement. Indeed, the artist introduced spray-paint-based work to international audiences upon his first formal exhibition, and he also invented the concept of the freestanding urban mural through his handball court piece, Howard the Duck (1978). This book is chock-full of Quinones’ street art works, paintings and drawings, underscoring the poetic social commentary the artist has incorporated throughout his formal evolutions. Pairing high-resolution images of his works with thoughtful scholarship, the monograph traces his influence on peers such as Jean-Michel Basquiat, Keith Haring and David Wojnarowicz. An abundance of archival photographs capture the gritty, vibrant New York City of Quinones’ early career. Born in Ponce, Puerto Rico in 1960, and raised in the Lower East Side, Lee Quinones is considered the single most influential artist to emerge from the New York subway art movement. In 1980, Quinones had his first New York show at White Columns, ushering in an important era as the medium of spray paint expanded from public spaces to stationary canvas works.

A stunning visual journey through the last vestiges of New York City’s artist lofts Envied by artists and apartment hunters alike for their wide windows and open floor plans, New York City’s lofts were once manufacturing centers in the late 19th and early 20th century. As urban densification pushed industry into the suburbs, these buildings were left empty. Looking for cheap rents and ideal studios, artists struck bargains with landlords to live and work in commercially zoned spaces. By the 1970s, these same artists faced eviction as their landlords embraced the new wealthy clientele that seeped into neighborhoods such as SoHo, Tribeca and the Bowery. Enacted in 1982, Article 7-C of the Multiple Dwelling Law, better known as the “Loft Law,” allowed artists to obtain legal occupancy and rent stabilization. After discovering a map of the protected buildings, documentary filmmaker Joshua Charow embarked on the ambitious project of documenting them. Over two years, he rang hundreds of doorbells, interviewing over 50 artists still living in these lofts, and photographing them in their spaces, alongside their works in progress and the unique modifications they have made to the lofts to meet legal standards. This timely untold story paints a portrait of a bygone era of New York’s downtown art scene. Artists include: Ken Jacobs, Flo Jacobs, Loretta Dunkelman, Katherine Liberovskaya, Phill Niblock, Gerald Marks, Martine Mallary, Michael Sullivan, Carmen Cicero, Joseph Marioni, Carolyn Oberst, Jeff Way, Chuck DeLaney, Joe Haske, Kimiko Fujimura, Steve Silver, Noah Jemison, Sumayyah Samaha, Bob Petrucci, Claire Fergusson, Gilda Pervin, Curtis Mitchell, Ellen Christine, Marsha Pels, Betsy Kaufman, Jennifer Charles, JG Thirlwell, Alex Locadia, Winkel, Anne Mason.

An intimate account of the 20th century's most inventive color photographer, with letters, poems and photographs Writer Inge Bondi sheds fresh light on the life of her close friend and colleague, the Austrian American photographer Ernst Haas (1921–86), whom she first met in New York’s Magnum offices in 1951. Bondi shares unique memories of this brilliant and very private man alongside reproductions of his letters, poems, photographs and ephemera, revealing for the first time details of his harrowing war years and complex personal life. The book’s 13 chapters cover Haas’ "Homecoming Prisoners of War" story (1947), which prompted Robert Capa to invite him to join Magnum Photos; pioneering color reportage for Life and Vogue, featuring his blurred portraits of bull fighting and saturated images of New York; and his work on film sets, including The Bible, which led to the publication of Haas’ groundbreaking and acclaimed 1971 photobook The Creation.

The latest creative collaboration between Maurizio Cattelan and Pierpaolo Ferrari Since its first issue in June 2010, Toilet Paper has created a world that displays ambiguous narratives and a troubling imagination. Combining the vernacular of commercial photography with twisted narrative tableaux and surrealistic imagery, the magazine contains no text; each picture springs from an idea, often simple, and through a complex orchestration of people it becomes the materialization of the artists' mental outbursts. The result is a publication that is itself a work of art, which, through its accessible form as a magazine and through its wide distribution, challenges the limits of the contemporary art economy.

Joel Meyerowitz is one of the pioneers of color photography, as well as an essential reference figure for street photography, large-format photography, and portraits. The Pleasure of Seeing is his first biography, the book offers a look behind the scenes of the life and career of one of America's photographic living legends. In conversation with historian and photographer Lorenzo Braca, Meyerowitz speaks vividly about his beginnings, studying art history, meeting Robert Frank, photographing on the streets of New York City with Tony Ray-Jones and Garry Winogrand, traveling extensively across America and Europe, learning from John Szarkowski, director of photography at MoMA, working on numerous exhibitions and publications, photographing at Ground Zero in 2001 and 2002, and about the most recent still lifes and self-portraits projects. The book contains over one hundred pictures, including Joel's most iconic photographs as well as new and previously unpublished material. This comprehensive visual biography testifies to the author's continuing evolution throughout the six decades of his career and discusses his work in relation to his personal life, to the history of photography, and to the incessant transformation of the medium. Meyerowitz reveals anecdotes, personal memories, and the story behind many of his famous photographs.

Celebrating the dynamic and enduring collaboration between two icons of fashion and photography In the 1970s, despite not yet knowing each other, Azzedine Alaia and Arthur Elgort were responding to a similar current within the cultural landscape. Alaia realized that fashion had changed; its locus had shifted from the salons to the streets. Elgort, then a young photographer for American Vogue, was in the process of establishing a new vision for photography that also moved outdoors, away from the studio; his “snapshots'' ushered in a more informal photographic style marked by its spontaneity. Both actively contributed to popularizing the mobile, assertive and independent woman within fashion. This book commemorates the long collaboration between Ala?a and Elgort. Many of the images produced by the duo are considered classics, emblematic of the late 20th century. This volume reproduces approximately 200 of these dynamic, playful photographs, many of which feature Ala?a himself. Arthur Elgort (born 1940) studied painting at Hunter College but quickly transitioned to photography. In his long career he has worked on many major advertising campaigns, including for Chanel, Valentino and Yves Saint Laurent, shot countless fashion spreads and published several books, including Personal Fashion (1983), The Swan Prince (1987), Models Manual (1993), Ballet Camera Crazy (2004), The Big Picture (2014), Jazz (2018) and I Love…. (2019). Azzedine Alaia (1935–2017) was a Tunisian couturier and shoe designer. He produced his first ready-to-wear collection in 1980. When his clothes were first sold at Bergdorf Goodman in 1982, it was considered so momentous that the New York Times later listed it as among the landmark events that altered the city’s cultural landscape. Among his devotees were Grace Jones (who wore several of his creations in A View to a Kill), Tina Turner, Raquel Welch, Madonna, Janet Jackson and Naomi Campbell.

Albert Einstein is known by name and image throughout the world to people of all ages. He is probably the most well-known scientist of all time. Even though most people have only a vague idea of what he did, the attraction remains. The raison d'etre for this book is to convey a sense of familiarity with Einstein as a real person and with the essence of his contributions. This is accomplished through annotated full-page photographs of Einstein that tell the story of his scientific life. The book is written for the general public. It may appeal to Einstein scholars as well. This visual - and artistically beautiful - format differentiates Einstein: The Man And His Mind from all previous books about him. The images (mostly signed portrait photos) are supplemented by a selection of 53 rare letters, manuscripts, books, journals 51 original rare portraits 4 equations in Einstein's handwriting provided by what is likely the largest private Einstein collection in existence. This project has the support of two private US foundations The Sterling Foundation and The Antonia & Vladimer Kulaev Cultural Heritage Fund, Inc. All royalties will be donated to the Albert Einstein Archives at the Hebrew University of Jerusalem.

"The dynamism of the images and the inventive sequencing make this not just a book of great photographs, but a great photography book full of energy and verve." "... a fitting tribute to [Shapiro's] legacy" - B&W Photography Famed photojournalist Steve Schapiro and his son Theophilus Donoghue have collaborated on seventy thirty, a photo project that is 70% Schapiro, 30% Donoghue. Seventy thirty depicts the various faces and expressions of humanity, from metropolitans to migrants, unseen homeless to conspicuous celebrities, such as Alec Guinness, Allen Ginsberg, Muhammad Ali, Robert De Niro, Rene Magritte, Janis Joplin, Andy Warhol, and the Velvet Underground. Schapiro photographs early New York skateboarders while Donoghue documents current Colombian breakdancers. Father and son both capture philosophically poignant moments that rouse reflection. Schapiro includes his classic photo "Man on Iceberg," which was the opening double-page spread of a Life story on existentialism. In a similar fashion, Donoghue contributes his contemplative "Hindsight Intersection," which was recently featured in ARTSY's 20 21 Artists in Support of Human Rights Watch benefit auction. Shooting in monochrome with an occasional dash of colour, Schapiro and Donoghue portray the proud and lofty as well as the humble and humorous. Alternately profound and playful, Schapiro and Donoghue's photographs capture a vast range of human emotion and experience. Like his father, Donoghue is equally concerned with social justice issues. For this project, Schapiro has selected images from the 60s civil rights movement and, with Donoghue, provided photos from today's Black Lives Matter protests and environmental rallies. Apart from numerous stateside locations, their project includes images from India, Italy, Nicaragua, Panama, Costa Rica, Colombia, and Ecuador. Together father and son provide a touching overview of humanity throughout the world from the 1950s to present day.

This new and expanded edition of Roger Ballen's widely acclaimed 1979 photobook Boyhood features new and unpublished images taken by the photographer in the '70. Quoted by Andre Kertesz, Bruce Davidson and Elliott Erwitt as a rare and intimate view of the spirit of youth, these images are able to bring back the childhood of everyone. In photographs and stories, Ballen leads us across the continents of Europe, Asia, and North America in search of boyhood: boyhood as it is lived in the Himalayas of Nepal, the islands of Indonesia, the provinces of China, the streets of America. Each stunning black and white photograph (culled from 15,000 boy photos shot during Ballen's four-year quest of his subject) depicts the magic of boys revealed in their games, their adventures, their dreams, their mischief. Boyhood is able to connect boys all around the world across the borders of nationality and culture. More of an ode or a memory than a literal document, Ballen's first book is as powerful and current today as it was 43 years ago presenting a stunning series of timeless images that transcend social and cultural particularities.

Toiletpaper is an artists' magazine created and produced by Maurizio Cattelan and Pierpaolo Ferrari, born out of a passion or obsession they both cultivate: images. The magazine contains no text; each picture springs from an idea, often simple, and through a complex orchestration of people it becomes the materialization of the artists' mental outbursts. Since the first issue, in June 2010, Toiletpaper has created a world that displays ambiguous narratives and a troubling imagination. It combines the vernacular of commercial photography with twisted narrative tableaux and surrealistic imagery. The result is a publication that is itself a work of art, which, through its accessible form as a magazine, and through its wide distribution, challenges the limits of the contemporary art economy.

End of a century... In the late 1990s as a graduate from art school I began making pictures for my beloved Sleazenation magazine and in particular for the infamous listing pages to the rear of the magazine that were called "Savoir Vivre" (loosely translated as to know how to live!) The images were made in B&W and were immensely candid and full of characters that seems to be everywhere at that time. The images on the pages were essentially describing to those that liked to go clubbing what they actually looked like, what those in the provinces who desired the decadent lifestyle of the urban cool could eventually look like and for the international reader in the fashion capitals of Paris, Milan and Rome it kept them wondering what on earth was going on. London was at the epicentre of a cultural boom. Small clubs, parties and discos where a plenty in venues from North to South and I was in a minicab and night bus taking in 3-4 of an evening. My weekends were a write off and I slept most of Monday trying to recover...Here are the spoils for while my young son was sleeping I was involved in capturing a period in time that was filled with love, lust and messy authenticity, carefree and devoid of today's global, big tech cynicism. Nothing here was perceived or played out. It was done with wide eyed hope and wonder and I'm not sure we can ever return to this place or at least not for a good while. As my world as a photographer has expanded throughout the capitals of Europe and across the Atlantic shooting campaigns and fashion editorials for V magazine, POP and Vogue Hommes I can look at these pictures with perhaps some greater objectivity. My son, now in his early 20s sits beside me and discusses those times and how they differ from today as he negotiates the beginning of his creative journey. These pictures aren't about Teds, Skinheads, Northern Soul, Acid House or Jungle and Garage, they're not about Nu Metal or South London blackout clubs...but they are all here alongside high street carpet clubs because here in the UK we know how to throw a party, we work hard and play hard, grace under pressure, street style into high fashion To quote Ray Davies I ask, 'Where have all the good times gone'? I remain friends with many of the characters that were my colleagues at sleazenation at that time. Steve Beale and Justin Quirk were the irreverent editorial team eventually cherry picked by Emap and Conde Naste to become significant editors and creatives respectively. The Photo editor who gave me my break out of art school was Steve Lazarides who went on a few years later to represent and champion a graffiti artist called Banksy, The Magazines firebrand designer was for a while Scott King who immediately won awards for his controversial front covers and designs. I clearly remember meeting Wolfgang Tillmans at one of his exhibition openings in Herald Street in what must have been 1999. He raved about the pictures we had been making for the magazine and enjoyed the overall subversive sentiment. I was enthused and still am to this day. I'd suggest many of these collaborators to work alongside one another to help articulate and visualise this group of pictures into a book. Most of the images have never been seen before and I believe an international audience would be hungry for the authenticity found in an era that perhaps should have known better. I'm glad we didn't .

It was in 1978, during my first summer of making portraits while using an 8x10 inch large format camera, that I found myself drawn to photographing redheads. I have often been asked; 'why redheads,' and I've often felt it was because in summer redheads seem to bloom in the sun more gloriously than the rest of us. But it also might have been my living far out on the tip of Cape Cod, surrounded by all the blue light of sea and sky, which made me pay more attention to the flamboyant qualities of redheads. Their hair and the exotic markings of their skin in sunlight became even rosier and more astonishing in that blue atmosphere. Redheads, like film itself, are transformed by sunlight. It seems natural to me now that I would have paid attention to this new phenomenon as it appeared within the larger subject of the Cape itself. After making more than 50 portraits that first month, in which at least 30 were of redheads, I understood that this was an impulse to be taken seriously. I ran an ad in the local paper, the Provincetown Advocate: "REMARKABLE PEOPLE! If you are a redhead or know someone who is, I'd like to make your portrait, call...." They began coming to my deck, bringing with them their courage and their shyness, their curiosity and their dreams, and they shared their stories of what it was like to be a redhead. They spoke of the painful remembrances of childhood, the violations of privacy and name calling-"Hey, red," "freckle face," "carrot head." They also shared with me their sense of personal victory at having overcome this early, unwanted celebrity, and how like giants or dwarfs or athletes they had finally grown into their specialness and by surviving had been ennobled by it. You could say that they had been baptized by their own fire, and that their shared experience had formed a "blood knot" among them. I had begun making portraits with the intention of photographing ordinary people. But redheads are both ordinary and special. Their slender slice of the genetic pie accounts for only 2 or 3 percent of the world's population. As different as redheads are in terms of nationality and religion, they often give the appearance of a strong familial connection.

Zone Eleven is a reference to Ansel Adams' Zone System, a method to control exposure of the negative in order to obtain a full range of tonality in the photographic print from the deepest black of Zone 0 to the brightest highlight in Zone 10. Zone Eleven is a metaphor coined by artist Mike Mandel in his challenge to create a book of Adams' photographs outside of the bounds of his personal work. Many of these photographs were found in the archives of his commercial and editorial assignments, and from his experimentation with the new Polaroid material of the times. For this book, Mandel has unearthed images that are unexpected for Adams, and created a new context of facing page relationships, and sequence. Zone Eleven is the product of Mike Mandel's research of over 50,000 Adams images located within four different archives to present a body of Adams' work that was unknown until now. Mike Mandel is well known for his collaboration with Larry Sultan in the 1970s - 1990s. They published Evidence in 1977, a collection of 59 photographs chosen from more than two million images that the artists viewed at the archives of government agencies and tech-oriented corporations. Conceptually, Zone Eleven is a companion book to Evidence. As Evidence reframes the institutional documentary photograph with new context and meaning, Zone Eleven responds to the audience expectation of "the iconic Ansel Adams nature photograph." But Mandel selects images that do not fit that expectation. Zone Eleven is a book of Ansel Adams images that surprisingly speak to issues of the social relations, the built environment, and alienation.