Damiani strana 2 z 3

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.

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.

This new and expanded edition of Joel Meyerowitz's widely acclaimed photobook, Wild Flowers - now, in a larger format, features new and unpublished images. For nearly forty years Joel Meyerowitz has tended his visual garden in the streets and parks and cities he has visited or lived in. He goes out into the streets open-eyed and passionate, carrying a machine which is perfectly suited to the task of taking it all in. The Leica, as quick as the flick of an eyelash, effortlessly interrupts time, stopping and holding it forever. These walks gave shape to new territory for him, which he began to think of as a garden that reflected the variety of his observations. Then, one day, while editing, Meyerowitz stumbled upon a small group of these flower photographs which he had gathered unknowingly. He began to believe that this innocent premise might be enough to tie together many of his other photographic concerns under the nominal subject of 'flowers,' which, given the surprises of city life, he viewed as flowers gone somewhat berserk-and so Wild Flowers was born.

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 Andre Kertesz, 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.

7 Deaths of Maria Callas is an opera project created by Marina Abramovic 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, Abramovic re-creates seven iconic deaths from Callas' most important roles throughout her career, followed by an interpretive recreation of Callas' actual death played by Abramovic 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.

ToiletMartin PaperParr Book is a high-impact visual volume revealing the most iconic images from the prolific archives of internationally celebrated artist Martin Parr and the duo who created Toiletpaper, Maurizio Cattelan and Pierpaolo Ferrari. Martin Parr's ironic, full color images combine perfectly with the irreverent and poignant wit created by Maurizio Cattelan and Pierpaolo Ferrari. The 120 vibrant back-to-back images included in this compelling volume are sensually and visually appealing, as well as reflecting reality. This book of the books shakes up our minds and leads us to move our gaze in multiple directions.

Jan's defining images cross all kinds of fashion barriers. His respect for the models he works with is evident. His models are raw, sometimes slighty unconventional beauties, quite often with very little hair and make-up. Jan's images are pure, powerful and evocative, getting to the very soul of the subject. Whether its an androgynous looking girl with a cowboy hat, a model smoking a cigarette on a beach, a movie star or a picture of his wife or children, the pictures are captivating in their simplicity with a very clear style that belongs only to him. His approach to his craft remains unchanged over decades, his style clear, avant-gard and transcendent of trends. Featured are among others Cate Blanchett, Helena Christensen, Eva Herzigova, PJ Harvey, Drew Barrymore, Kirsten Owen, Kylie Minogue, Tatjana Patitz, Jessica Chastain, Christy Turlington, Tilda Swinton, Vanessa Paradis, Gisele Bundchen, Natalia Vodianova, Courtney Love, Doutzen Kroes, Laetitia Casta, Charlotte Gainsbourg, Jennifer Connelly, Milla Jovovich, Bella Haddid and Helen Mirren.

Bologna Portraits is the portrait of one of the most charming and least well-known Italian cities portrayed through the faces of the people who live there today. It started during the artist's many stays in the town. Discovering Bologna little by little, Jacopo Benassi took pictures, like a sort of notebook, of the faces of the most interesting people he met during his time there. After a few months he already had a large portfolio of people which, like in a mosaic, built a bigger portrait of the whole city today. Bologna is probably the best-kept secret of the Italian cities with a great past. Large-scale tourism has never affected it, but in recent years it has been discovered by a growing group of sophisticated travellers passionate about art, culture, cinema and food. The portraits are a mix of young artists, writers, minor and great musicians, leading businessmen, famous bar tenders, tailors, professors at the local university (the oldest in the Western world), personalities and international artists such as Nino Migliori and Luigi Ontani. All of them born or living in Bologna. The whole book is a study of real faces that are able to be meaningful and to tell a story, and recall a tradition like the study of faces by Pier Paolo Pasolini in some of his films, or Andy Warhol's Screen Tests. But at the same time, they recall a masterpiece like Un Paese, the book produced by Paul Strand and Cesare Zavattini. The book includes a text by art critic Antonio Grulli.

Toilet Paper 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, Toilet Paper has created a world that displays ambiguous narratives and a troubling imagination.

During his long career as a photographer, Martin Parr has always photographed on beaches, particularly in the UK. He has often used the beach as a laboratory to experiment with new cameras and techniques. So far example, when he changed from black and white to medium format colour in the early 80s his first major project was about New Brighton, a run down seaside resort near Liverpool. In recent months he has started exploring the beach with the aid of a telephoto lens. This lens is rarely used in the world of art and documentary photography so it is a challenge to find new ways of using it. Often this involves incorporating the vegetation on the perimeter with the beach as a backdrop, both in and out of focus. So over his long career he has tried everything from a close up macro lens, a medium format wide angled camera and finally this latest offering with the telephoto.

Mongolia is a project which Frederic Lagrange began in 2001 and has spanned over 15-years, during which he took 12 trips in all four seasons, covering vastly different regions of the country. This book is his visual portrait of Mongolia and her people captured in detail in a genuine, human form through a compilation of landscapes and portraits. The book offers the viewer an intimate look and visual journey into a still largely unknown and intriguing place. The book is intentionally printed in large format, to maximize the impact of the smallest details and the different emotions of everyday life in the countryside and cities. The entire selection of images have been shot on negative film which offers a painterly quality with grain and with vivid colors. To Lagrange knowledge, this is the only body of work about Mongolia that offers such an extensive coverage of the country.

Barry McGee is an artist who takes uncertainty and unpredictability as his guiding principles. Every exhibition is different. His installations have featured everything from robotic graffiti writers to entire shipping containers and automobiles. Published to accompany an exhibition at Cheim & Read, New York, this artist's book features new paintings, sculptures, photographs and images of site-specific installations. McGee's work defies easy categorization and explanation but it's possible to read into this latest body current events in the world at large.

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.

This is the first book dedicated to Elgort's Jazz portraits and the list of names it includes constitutes a veritable pantheon of jazz greatness. Featured in the book are portraits of Wynton Marsalis, James Carter, Roy Haynes, George Benson, Milt Hinton, Walter Blanding, Michael Bowie, David Sanchez, Angelo Debarre, Dexter Gordon, Sonny Rollins, Joshua Redman, James Moody, Jay McShann, Pat McFeeny, Jimmy Scott, Dorothy Donegan, Illinois Jacquet, Ornette Coleman, Don Byron, Aaron Neville, Dizzy Gillespie, Art Blakey, John McLaughlin, Jesse Davis, Lionel Hampton, Clark Terry, Christian Mcades, Ron Carter, Wycliff Gordon, Sam Newsome, Roy Haynes, Jon Faddis, Roy Hargrove, Max Roach, Jerome Harris, Jack DeJohnette, Michael Cain, Al Grey, Thelonius Monk Jr., Benny Carter, Jon Hendricks, Stefan Harris, Jervan Jackson, Kenny Baron, Doc Cheatham, Arnett Cob, Tommy Flanagan, Jason Moran, Luther Lafatti, Bradford Marsalis, Delfeayo Marsalis, Jason Marsalis, Kenny Garrett, Olu Dara, Jesse Davis, Buddy Tate, Anton Rooney, Flip Phillips, and Sam Rivers. Every now and then a fashion model of the moment pops up in a picture creating a fitting link between this body of work and Elgort's fashion pictures.