Ninety-some extraordinary images created by photographer Acebes (now in his eighties and living in Colombia) are richly reproduced in duotone--full-page, in an oversize format, 10x13". Published in conjunction with an exhibition opening in Atlanta in 2004 (and scheduled to travel for two years), the volume includes an essay by Isolde Brielmaier (Vassar College), who sets his work in the context of other photographers shooting in Africa at the time, and a biographical essay by Ed Marquand, who directs the Hector Acebes Archive. Annotation ©2004 Book News, Inc., Portland, OR (booknews.com)

Hector Acebes: Portraits in Africa, 1948-1953

Arts & Photography

Marquand, Ed

Brielmaier, Isolde

Acebes, Hector

Individual Artists

Marquand Books, Inc.

Now available in paperback, Vitamin Ph is a global, up-to-the-minute survey of new developments in contemporary photography, featuring the work of 121 living photographers who have made a fresh and innovative contribution to international art photography. Texts by significant critics, curators, art historians and creative writers representing a wide variety of perspectives comprise a book that is both a reference for the art world and an accessible guide for those with an interest in photography.

Vitamin Ph

Alonso, Rodrigo

Boutoux, Thomas

University of Rochester

Exhibitions and Displays, Tate Modern

MoMA

Photography & Video

Phaidon Press

From the Foreword by Louanne Greenwald: The Hilliard Museum is proud to present the exhibition and publication, Vitus Shell: Bout It, Bout It, The Political Power of Just Being featuring the work of Louisiana artist Vitus Shell. Positioned within the long tradition of portrait painting, this body of work also has a local specificity in that many of the subjects are UL students and Lafayette residents. Depicting his subjects as they were photographed in their chosen dress and posture, Shell composes them graphically against backgrounds layered with text and image that speak to the history of black identity in America. As a tribute to subjects that have long been underrepresented in art and at our museum, this work plays an important role in reflecting and embracing the diversity of our campus and our community. In these pages, Shell talks about his vision to create a community center in the neighborhood where he grew up, bringing together artists and local youth for positive change. His is a vision that aligns with our own mission and is a welcome reminder of the political power of creative self-expression, the political power of art.

Bout It 'bout It: The Political Power of Just Being

Hickey, Benjamin

Big Hoot

Wimberly, Dexter

University of Louisiana

Infusing Japanese Ukiyo-e compositions with hip-hop styling, American painter Iona Rozeal Brown (born 1966) investigates in her electrifying narrative canvases the globalization and appropriation of ethnic cultures. Brown's hybridities, which she terms "Afro Asiatic allegories," draw on the many parallels between Ukiyo-e and hip-hop--their narrative content, graphic sophistication and broad popular appeal--ultimately revealing the fluidity of history, identity and fashion. For the exhibition which this monograph accompanies, MOCA Cleveland has commissioned a new series of paintings from Brown. In the resulting work, which is based in part on Japanese prints from the Allen Memorial Art Museum at Oberlin College, Brown creates an epic visual tale in which the artist's heroine embodies the qualities that she hopes to inspire in young women and men--confidence, courage and sincerity.

Iona Rozeal Brown

Reich, Megan Lykins

Reference

Hatje Cantz

José Parlá (born 1973) derives his art from the accretions and damage of city walls, and the record they supply of neighborhood character and local history. To these collectively authored public surfaces, Parlá brings a consciousness of art history, and the transformations of graffiti traditions dating back to ancient Rome by painters such as Twombly, Basquiat and Kiefer. His mixed media works sometimes employ fresco techniques and include acrylic, oil paints, plaster, posters used as collage, homemade inks and enamel spray paint. Parlá's archeological works celebrate the chronicles of the urban fabric as a diary: he writes, "as my works evolved, be it paintings, signatures, or even the documentation of these early ephemeral artworks throughout city walls, the works took on the nature of personal journals based on empirical experiences." This volume surveys his two-decade oeuvre.

José Parlá: Walls, Diaries, and Paintings

Tate, Greg

Betancourt, Michael

"Females carry the marks, language and nuances of their culture more than the male. Anything that is desired or despised is always placed on the female body," states Kenyan-born, New York-based artist Wangechi Mutu, the subject of this highly anticipated first monograph. In recent years Mutu's work has become increasingly sought-after in the international art world, making high-profile appearances at the important art fairs and auctions. What makes her interesting, however, is her fierce and contemporary use of the well-worn medium of collage. Mutu deals with female and cultural identity in large-scale figurative pieces constructed from found and drawn imagery. Her figures are freakish and erotic hybrids of the primitive, contemporary and post-human. These sometimes garish, diseased, ravaged and distorted figures are made from seductive or silly materials like glossy fashion magazine pictures, glitter or fun fur. They refer to colonial history, contemporary African politics, the history of art and fashion--in often quite irreverent ways. Mutu's own diverse history--she has studied both anthropology and sculpture and has lived in Nairobi, Wales, New York and New Haven, where she received her MFA from Yale University in 2001--seems a likely source for her manifold concerns. This volume surveys Mutu's work to date.

Wangechi Mutu: A Shady Promise

Gaines, Malik

Veal, Michael

History & Criticism

Damiani

José Parlá has received critical acclaim for his works, which lie at the boundary between abstraction and calligraphy. Composed of layers of paint, gestural drawing and found ephemera, his work evokes the histories of urban environments: Parlá is a documentarian of city life. Using the backdrop of world cities, he remakes in paint what may appear to be photorealist fragments of what he sees in the chaos of the metropolis. His paintings reflect the accumulated memories and experiences, the walls that show a place that once was built over, renewed in some other configuration. Parlá paints revelations, the proof of the history of our neighborhoods; his work shows that words, signs and marks come to mean more, over time, in this symphony of diversity that surrounds us. In Media Res concentrates on the body of Parlá's work that stems from his experiences of living and traveling in various countries: his time in Puerto Rico, his childhood in South Florida in the 1980s, extended journeys throughout the southern United States and Central America in the 1990s and most recent travels throughout Europe, Asia and his ancestral land of Cuba. Spanning painting, watercolor, photography and sculpture, this volume shows Parlá at his most versatile and cosmopolitan. José Parlá (born 1973) was recently commissioned by One World Trade Center for his monumental mural painting, "One: Union of the Senses" (November 2014), the largest of its kind in New York City, in the tallest building in the Western Hemisphere. He also has work at the Barclays Center in Brooklyn (January 2013) and the Brooklyn Academy of Music (September 2012), as well as having held solo exhibitions at Bryce Wolkowitz Gallery in New York, Haunch of Venison (London), Yuka Tsuruno gallery (Tokyo) and the High Museum of Atlanta. In 2013, Parlá was added to the collection of the British Museum in London and the Albright Knox in Buffalo, New York. Parlá lives and works in Brooklyn, New York.

José Parlá: In Medias Res

Slome, Manon

McCormick, Carlo

Damiani/Bryce Wolkowitz

Review\nParekh saw his clients as they wanted to be seen. With them, he imagined new worlds and identities...There is power in this collaboration between sitter and photographer, and unadulterated joy, too. -- M.Z. Adnan ― New Yorker\nOffers a counter-narrative to engaging with African photographic archives as well as photographic histories at large. -- Noa Wynn ― Brooklyn Rail\nThe element of performance is integral to photographer N.V. Parekh’s work, as sitters were free to imagine their identities beyond the traditional markers of class, religion, status, gender, and ethnicity. -- Sara Rosen ― Blind\nA previously unseen trove of Kenyan studio portraits, expressing a photographer’s vision and a city’s lively identity 
When the Kenyan-born photographer N.V. Parekh opened his Mombasa portrait studio in 1942, the city was galvanized. People came to visit Parekh from all over East Africa to mark important events such as weddings, reunions, graduations and birthdays. By the 1960s, Mombasans of all ages and backgrounds were visiting the studio by themselves, or with their friends, spouses or lovers, to stage playful, even daring portraits that enabled them to express and reveal themselves uniquely. Depending on his client’s wishes, Parekh worked to create portraits that ranged in tone from formal and elegant to hip or sensual, strongly influencing a vibrant visual culture in Mombasa. 
I Am Sparkling is the first ever overview of this historically significant photographer, his clientele and the temporal, geographical and cultural milieu in which he flourished. Rarely accessed until now, Parekh’s personal archive went out of circulation following his retirement to Britain in the late 1980s; it was acquired by the Italian poet and artist Sarenco in 2001. This volume draws on this photographic archive along with extensive interviews with Parekh’s diverse clientele, and is complemented by NYU professor Isolde Brielmaier's rich historical context and analysis with a particular focus on women as clients of studio photographers. The artist Wangechi Mutu contributes a preface. 
N.V. Parekh (1923–2007) emigrated with his family from India to Mombasa, where he trained with local photographers in the 1930s before founding his own portrait studio in 1942.

I Am Sparkling: N.V. Parekh and His Portrait Studio Clients: Mombasa, Kenya, 1940–1980

Parekh, N.V.

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