Product Description 
Essays on a range of photographic topics by the recently appointed Joel and Anne Ehrenkranz Chief Curator of Photography at MoMA\nSince 1839... offers a selection of essays by the renowned photography historian Clément Chéroux. Appointed Joel and Anne Ehrenkranz Chief Curator of Photography at the Museum of Modern Art (MoMA) in New York in 2020,Chéroux takes on a variety of topics, from the history of vernacular photography to the influence of documentary photography on Surrealism. These texts, newly translated into English and published together in one volume for the first time, reflect the breadth of Chéroux’s thinking, the rigor of his approach, and his endless curiosity about photographs.\nIn this strikingly designed and generously illustrated volume, Chéroux presents unique case studies and untold stories. He discusses ways of sharing images, from the nineteenth century to the digital age; considers the utopian ideals of early photography; and analyzes the duality of amateur photography. Among other things, he describes the appeal of photographs snapped from a speeding train and explains historical value of first-generation prints of photographs. Through an analysis of key photographs taken on 9/11, Chéroux shows that the same six images were seen again and again in the press. Widely ranging, erudite, and engaging, these essays present Chéroux's innovative investigations of the histories of photography. 
 About the Author 
Clément Chéroux is Joel and Anne Ehrenkranz Chief Curator of Photography at the Museum of Modern Art (MoMA) in New York. A photography historian, he has curated approximately thirty exhibitions and has published more than forty books and catalogs.

Since 1839: Eleven Essays on Photography (RIC BOOKS (Ryerson Image Centre Books))

Arts & Photography

Chéroux, Clément

Photography & Video

The MIT Press

The mesmerizing photographic history of occult phenomena, from levitations and apparitions to spectres, ghosts, and auras. In the early days of photography, many believed and hoped that the camera would prove more efficient than the human eye in capturing the unseen. Spiritualists and animists of the nineteenth century seized on the new technology as a method of substantiating the existence of supernatural beings and happenings. This fascinating book assembles more than 250 photographic images from the Victorian era to the 1960s, each purporting to document an occult phenomenon: levitations, apparitions, transfigurations, ectoplasms, spectres, ghosts, and auras. Drawn from the archives of European and American occult societies and private and public collections, the photographs in many cases have never before been published.
 The Perfect Medium studies these rare and remarkable photographs through cultural, historical, and artistic lenses. More than mere curiosities, the images on film are important records of the cultural forces and technical methods that brought about their production. They document in unexpected ways a period when developing photographic technology merged with a popular obsession with the occult to create a new genre of haunting experimental photographs.

The Perfect Medium: Photography and the Occult

APRAXINE, Pierre

Fischer, Andreas

Canguilhem, Denis

Schmit, Sophie

Yale University Press

Henri Cartier-Bresson : The Other Coronation /anglais

Individual Artists

Thames&Hudson

There's a mystery to Weegee. The American photographer's career seems to be split in two. On one side, his sensational photography printed in North American tabloids: corpses of gangsters lying in pools of their own blood; bodies trapped in battered vehicles; kingpins looking sinister behind the bars of prison wagons; dilapidated slums consumed by fire; and other harrowing evidence of the lives of the underprivileged in New York from 1935 to 1945. On the other, the festive photographs--glamorous parties, performances by entertainers, jubilant crowds, openings, and premieres--not to mention a vast array of portraits of public figures that Weegee delighted in distorting using a rich palette of tricks between 1948 and 1951, a practice he pursued until the end of his life. How can these diametrically opposed bodies of work coexist? Critics have enjoyed highlighting the opposition between the two periods, praising the former and disparaging the latter. Weegee: The Society of the Spectacle seeks to reconcile the two sides of Weegee by showing that, despite formal differences, the photographer's approach is critically coherent. In the first part of his career, which coincided with the rise of the tabloid press, Weegee was an active participant in transforming news into spectacle. To show this, he often included spectators or other photographers in the foreground of his images. In the second half of his career, Weegee mocked another sort of entranced crowd: the Hollywood spectacular with its ephemeral glory, adoring crowds, and social scenes. Some years before the Situationist International, his photography presented an incisive critique of the Society of the Spectacle.

Weegee: Society of the Spectacle

Born in 1908 in France, Henri Cartier-Bresson is considered to be the father of modern photojournalism. Early on he adopted the versatile 35mm format and helped develop the popular “street photography” style, influencing generations of photographers that followed. In his own words, he expressed that “the camera is a sketch book, an instrument of intuition and spontaneity, the master of the instant which, in visual terms, questions and decides simultaneously. . . . It is by economy of means that one arrives at simplicity of expression.” In 1947 Cartier-Bresson founded Magnum Photos with four other photographers. August 22 will be the 100th anniversary of his birth.

Discoveries: Henri Cartier-Bresson

Abrams

Impossible to Forget: The Nazi Camps Fifty Years After

Borhan, Pierre

Nazraeli Pr

Henri Cartier-Bresson: Le tir photographique

Politics & Social Sciences

Politics & Government

Gallimard]

In December 1962, just two months after the missile crisis, Agnès Varda (born 1928) traveled to Cuba. Like many French intellectuals, she was fascinated by this island and its charismatic leader and wanted to make a film to understand this particular mix of pure socialism, sensuality and cha-cha-cha. In order to preserve her freedom of movement, she traded film for still photography, with the idea of subsequently filming and reanimating her photographs with a rostrum camera. Although they had not been devised as art photographs, the shots from Salut les cubains (1964), presented for the first time in this French-language-only book, are of exceptionally high quality, an example of unhindered street photography. We recognize the sharp but always warm-hearted style for which Varda is known, as well as the tension between still and animated images. Agnes Varda: Cuba also compiles Varda’s archives--notebooks, sketches and editing notes--along with four illuminating essays. Please note that this title is in the French language only.

Agnès Varda: Cuba

Hourmant, François

Vignaux, Valérie

Editions Xavier Barral

Over nearly eight decades, Louis Stettner (1922-2016) defined a singular poetic vision in photography, honing a style influenced by both American street photography and French humanism. Stettner began working in the 1930s, becoming a member of the Photo League in New York and befriending Lisette Model, Paul Strand, and Weegee. After serving in the U.S. Army as a combat photographer, he moved to Paris in 1947, where he met the influential street photographer Brassaï. The following decades were the most important in his career, as he traveled back and forth between Paris and New York and found inspiration in that geographical duality. Published to celebrate a major acquisition of Stettner’s prints by the San Francisco Museum of Modern Art, this beautiful volume presents iconic photographs from the entirety of Stettner’s career, along with 19 essays about photography written by Stettner himself, originally published in the iconic magazine Camera 35 from 1971 to 1979, as well as a transcription of Stettner’s fundamental lecture, “Photography: Style & Reality,” delivered at the International Center of Photography in 2002.  

Louis Stettner: Traveling Light

Katz, Sally

Cernunnos

<div>Social media isn't just changing the way we interact with each other; it's influencing our culture and redefining what art is. Here, published to accompany an exhibition, the San Francisco Museum of Modern Art leads the discussion about how the evolution of photography shapes the way we view ourselves and communicate with each other through the use of social media, thus generating new forms of artistic creation.&nbsp; Snap + Share beautifully compiles the work from the SFMOMA exhibit, spanning over 125 years and various mediums: from paper-based art to large video screens, projections, and sculptures. By placing special emphasis on Mail Art of the 1960s through the 1980s, this book embodies SFMOMA's recontextualization of this diverse art movement and its connection to the modern consumption of photography through social media. Showcasing work highlighting the use of photography and technology as a means of self-expression, the book includes pieces by Joseph Beuys, Robert Frank, Salvador Dalí, Walker Evans and Stephen Shore, as well as Alain Baczynsky, Aram Beuys, Kurt Caviezel, Paul Citroen, Bill Dane, Moyra Davey, Fortunato Depero, Jan Dibbets, Eugenio Dittborn, General Idea, Jeff Guess, Kate Hollenbach, David Horvitz, Ray Johnson, On Kawara, Erik Kessels, William Larson, Zoe Leonard, Eva & Franco Mattes, Peter Miller, Jonathan Monk, Ken Ohara, Endre Tót, and Corinne Vionnet.</div>

Snap + Share: Transmitting Photographs from Mail Art to Social Networks

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