Eadweard Muybridge, one of the great pioneer-innovators of the 19th century, is a familiar figure to students of art history, photography, and cinema. Best known for the photographs of horses and other animals in motion that he made in the 1870s and '80s, Muybridge was the first person to use photography to freeze rapid action for analysis and study. He devised a method for photographing episodes of behavior using a series of cameras, producing some of the most famous sequential photographs ever made. These pictures, the first successful photographs of rapidly moving subjects, revolutionized expectations of what photography could reveal about the natural world, and ultimately led to the invention of the motion picture in the mid-1890s. Time Stands Still is the catalogue that accompanies a major exhibition celebrating Muybridge's fascinating work. Though the instantaneous photography movement stands as a crucial event in the progression of photography to motion pictures, this exhibition represents the first major organized treatment of the subject. Opening in spring 2003 at the Iris and B. Gerald Cantor Center for Visual Arts at Stanford University and touring through 2004, it combines an examination of the artist's career in motion photography with a survey of early attempts to photograph moving subjects. Guest curator Phillip Prodger is the primary author of the catalogue, but the book also includes a valuable essay covering cinema's earliest experiments by Tom Gunning, an acknowledged expert on early film from the University of Chicago. The exhibition will display Muybridge's zoopraxiscope and other equipment, drawings, ephemera, and photographs made from the invention of photography in the 1830s to the end of Muybridge's career, which culminated with the publication of his encyclopedic work, Animal Locomotion, in 1887. The photographs and objects are drawn largely from the collection of the Cantor Center and are supplemented with a selection of stop-action photographs from other private and public collections. Among those represented will be the work of Talbot, Rejlander, Maray, Eakins, Edison, the Lumiere Frères, and others.

Time Stands Still: Muybridge and the Instantaneous Photography Movement

Arts & Photography

Phillip Prodger

Individual Artists

Oxford University Press

The Mind's Eye

Jerry Uelsmann

Modernbook Editions

More wonderful photographs from this magnificent photographer as featured in this touring exhibition. It is invaluable to see other images from the artist's oeuvre (especially early work from the 1950s to observe thematic development), not just the most famous of the surreal montages.

The Mind's Eye: Photographs by Jerry Uelsmann

The publication of Paul Outerbridge: New Color Photographs from Mexico and California, 1948-1955 marks the discovery of a previously unknown and unpublished body of work by one of America s earliest masters of color photography. Outerbridge built his extraordinary reputation by making virtuoso carbro-color prints of nudes and still lifes, mainly in the studio, during the 1930s. In the late 1940s and 1950s he took his camera to the streets, crossing the border between California and Mexico and photographing the people and places he found. In the tradition of such photographers as Edward Weston, Paul Strand, Anton Bruehl, and Henri Cartier-Bresson, all of whom made significant photographic forays into Mexico, Outerbridge ventured south in his 1949 black Cadillac, frequenting the seaport towns along the Baja peninsula. Shooting in bold, luminous Kodachrome, his photographs explore the quirkiness of 1950s leisure culture and examine the blending of two interwoven societies at a distinctive time in history. From governors to gauchos, and from stevedores to bathing beauties, Outerbridge captured the humanity, and occasionally the absurdity, of people as they gathered at weddings, pool parties, and picture spots. As brilliant and innovative today as when they were made, these images demonstrate a breathtaking mastery of the new art of color photography, and Outerbridge s characteristic style and dramatic use of color anticipated the work of photographers who strove a quarter of a century later to develop a similar, bold new color vocabulary. The publication of this forgotten body of photographs includes an introduction by Outerbridge biographer Graham Howe and a preface and essay by curators William Ewing and Phillip Prodger.

Paul Outerbridge: New Color Photographs from Mexico and California, 1948-1955

Graham Howe

William Ewing

Photography & Video

Nazraeli Press

Harold Feinstein A Retrospective /anglais

NAZRAELI

'I knew Hoppe's photographs for years.' - Alfred Stieglitz, New York, 1921 'The Master' - Cecil Beaton, London, 1945 'The missing link in British photography between Frederick Evans and those contrasting moderns, Bill Brandt and Cecil Beaton' - Mark Haworth-Booth, London, 2006 Born in Munich in 1878 and resident in Britain from 1902, Emil Otto Hoppe began his photographic career in 1907 and soon developed a transatlantic reputation for photographing eminent figures from the worlds of literature, politics and the arts. Sitters include Jacob Epstein, Henry James, Tilly Losch, Vaslav Nijinsky, Tamara Karsavina, Margot Fonteyn, W. Somerset Maugham, George Bernard Shaw and the royal family. Less well known are his sensitive studies of ordinary people - such as cleaners, maids,and street vendors - that Hoppe made on location as well as in his London studio from the 1920s onwards. His photo-stories of the early 1930s were taken for the new pictureled reportage magazines, such as Weekly Illustrated. These masterful observations had a major impact on later photographers and predate the growth of photojournalism during and after the Second World War. Following extensive conservation and organisation, the Hoppe photographic archive has been recently reunited with letters and biographical documents held by his estate. This important survey showcases 150 of Hoppe's remarkable portraits, including many previously unpublished photographs as well as new research into his life and work. Accompanies a major National Portrait Gallery, London exhibition, 17 February-30 May 2011.

Hoppé Portraits: Society, Studio and Street

Terrence Pepper

National Portrait Gallery

Bringing together unique and rarely seen photographs, paintings, sculpture and drawings, this exquisite book tells the story of the tumultuous relationship between the artists Man Ray (18901976) and Lee Miller (19071977). From 1929 to 1932, the two lived together in Paris, first as teacher and student, and later as lovers. Historically, Miller has been described as Man Ray’s muse, but Partners in Surrealism reveals how their brief, mercurial love affair was a key source of mutual and sustained inspiration, resulting in some of the most powerful work of each artist’s career. Featuring a candid and poignant contribution from Antony Penrose, the son of Miller and the English painter Roland Penrose, on the relationship between Man Ray and his parents in later years, this is an extraordinary exploration of the love, lust and desire that drove the art of the Surrealists.

Man Ray / Lee Miller: Partners in Surrealism

History & Criticism

Merrell Publishers

SurfLand

Photolucida

Ernst Haas is unquestionably one of the best-known, most prolific and most published photographers of the twentieth century. He is most associated with a vibrant colour photography which, for decades, was much in demand by the illustrated press. This colour work, published in the most influential magazines in Europe and America, also fed a constant stream of books, and these too enjoyed great popularity. But although his colour work earned him fame around the world, in recent decades it has often been derided by critics and curators as "overly commercial", and too easily accessible - or in the language of curators, not sufficiently "serious". As a result, his reputation has suffered in comparison with a younger generation of colour photographers, notably Eggleston, Shore and Meyerowitz.

Ernst Haas: Color Correction

Steidl

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Books by Phillip Prodger