Elvis’s Graceland, a freezer stuffed with food, a Gulf gasoline sign standing in a deserted rural landscapethese are only a few of the iconic images captured by the democratic camera” of photographer William Eggleston. Not only has he drawn upon images so telling of American culture, he has produced them with an intensity and balance of color that have helped elevate the entire field of color photography to a fine art, especially since his 1976 exhibition at the Museum of Modern Art.
Drawing together Eggleston’s famous and lesser-known works, this lavishly illustrated catalogue is the first to examine both his photography and videos. Of particular relevance are his black-and-white images from the late 1950s and 1960s, which helped shape his color photography, as well as the relationship between his provocative video recordings of 1970s Memphis nightlife and his later work. Included are reproductions of newly restored prints, executed specifically for the exhibition. 
Filled with new and challenging contributions to scholarship and accompanying the first major U.S. survey of his work, this catalogue will prove the standard reference for Eggleston’s photographs for years to come.

William Eggleston: Democratic Camera, Photographs and Video, 1961-2008

Arts & Photography

Weski, Thomas

Sussman, Elisabeth

Individual Artists

The Whitney Museum of American Art

Albert Renger-Patzsch's contribution to the avant-garde photography of the 1920s and early 1930s established his leading role in the history of the medium. "Die Welt is Schon" or "The World is Beautiful" became of the most influential photographic books ever. His cool, clinical pictures, with their details of technical apparatus, industrial products and natural organisms, were models of a new artistic vision, combining objectivity and order with beauty and technology. This volume accompanies a major retrospective at the Sprengel Museum in Hanover celebrating the centenary of the innovative artist. It is edited by the founders and directors of the Albert Renger-Patzsch Archive in Cologne and contains the much publicized "Icons of New Objectivity" - the famous still lives of Jena glass, or rows of flat irons at a shoe factory - and lesser known pictures of landscapes and architecture, a selection of city portraits and photographic studies of trees and stones.

Albert Renger-Patzsch: Photographer of Objectivity

Reference

Wilde, Ann

Janzon, Thomas

Wilde, Jurgen

Writing, Research & Publishing Guides

Thames and Hudson Ltd.

Martin Parr's vast collections of photography books and postcards are world-renowned. Unbeknownst to many, he is also an obsessive collector of photographic and themed objects. In Parrworld: Objects and Postcards, a luscious two-volume set, his affinity for focused accumulation is presented with appropriate thoroughness, and with typical Parrian humor. Some of the items in the first volume, Objects, have already achieved notoriety--for instance, the wrist watches featuring Saddam Hussein's visage. Others mythologize well-known figures such as Lenin and the Spice Girls. Then there is the kitsch--from wallpaper to trays and objects commemorating Sputnik, Charles and Di's wedding and 9/11. While Objects is the first publication to document Parr's 25-plus years of such collecting, Postcards is the "last word" on an extraordinary collection of over 20,000 cards. Presented in album format, it is a highly entertaining yet serious study of postcard history, and includes early cards that depict local news events such as car crashes and murders. The book finishes in Boring Postcards territory with a selection of cards promoting motorways and shopping. Objects is introduced by Parr and Postcards features an introduction by Thomas Weski, curator of the companion exhibition, Parrworld. This remarkably designed set is bound to appeal to a wide audience, but in particular to Parr collectors who thought they already owned everything Parr. Martin Parr, born in Epsom, England in 1952, is the author of more than 30 photography books, including Our True Intent Is All For Your Delight, Boring Postcards and Mexico. His photographs are held by museums worldwide, including the J. Paul Getty Museum, Los Angeles; The Museum of Modern Art, New York; and Tate Modern, London. Parr is a member of Magnum Photos.

Martin Parr: Parrworld: Objects and Postcards

Aperture

A critic once described the work of American photographer Walker Evans as "tender cruelty." That tension between engagement and estrangement lies at the heart of many of the photographs featured in this provocative new book, from August Sander's remarkable study of German people at the beginning of the century to Philip-Lorca diCorcia's revealing city street scenes. Among the other photographers whose work is featured are Robert Adams, Diane Arbus, Bernd and Hilla Becher, Rineka Dijkstra, William Eggleston, Robert Frank, Andreas Gursky, Albert Renger-Patzsch, and Garry Winogrand. 
Published to accompany the first major photography exhibition to be held at Tate Modern, London, this stunning book reproduces more than 200 photographs by the century's most important realist photographers, together with insightful essays and biographies of the photographers featured.

Cruel and Tender: The Real in the 20th Century Photograph

Dexter, Emma

Photography & Video

Tate

Published in a landscape paperback format by A. Zwemmer Ltd in 1982, Bad Weather was the debut monograph of one of Britain’s most world-renowned and prolific photographers. Armed with his famous wry humor and a water-proof camera, Martin Parr (born 1952) captured the social landscape and national character of the UK during downpours, drizzles, snow storms and other challenging varieties of the weather for which Britain is so famed, in gentle, charming, black-and-white photographs. Bad Weather has been out of print for 30 years and is now one of Parr’s most sought-after books. Books on Books No.17 reproduces the entire publication spread by spread, and includes an essay by Thomas Weski on Britain’s obsession with its weather, called "Even the Queen Gets Wet."

Martin Parr: Bad Weather: Books on Books No. 17

Ladd, Jeffrey

Fish, Michael

Turner, Peter

Errata Editions

Arno Schmidt (1914-1979) was not only one of the most important authors of the twentieth century, but a photographer as well. Since it was first published and exhibited in 2003, his photographic oeuvre has increasingly sparked interest among art and photography audiences.Schmidt's images feature those places that served as settings for the stories he was planning. Most of them, however, document the heath around his home in the village of Bargfeld in northern Germany. His photographs transform the dimensions of the actual landscape into planes of color and texture that exude harmony and balance. His "creative eye" allowed him to generate arresting still lifes out of the most inconspicuous everyday objects, such as a wheelbarrow or a garden hose. This publication examines this secondary body of art works from a variety of perspectives. Exhibition schedule: Günter Grass-Haus, Lübeck, July 8-October 2, 2011 - École Normale Supérieure de Photographie (ENSP), Arles, November 9-December 11, 2011 - Literaturzentrum Vorpommern Koeppenhaus, Greifswald, opening February 2012 - Deutsch-Italienisches Kulturinstitut, Venice, opening April/May 2012 - Kurt Tucholsky Literaturmuseum Schloss Rheinsberg, opening November, 2012 - Deichtorhallen Hamburg - Kunsthalle Erfurt - And further venues

Arno Schmidt: Photographer

Kostas, Gabriele

Stamm, Rainer

Hatje Cantz

Laurenz Berges' latest series of color photographs remains true to his style and themes. Focusing on details of abandoned apartments, vacated houses, and neglected yards, he seeks out zones of urban ambiguity and transforms them into poetic yet strictly documentary photographs. Such visual notations from the no-man's-land between utility and decay and the recent past and the foreseeable future can be likened to a photographic Arte Povera. However unwieldy and minimalistic Berges' photographic tableaux may seem, their fascination stems not only from their ingenious and masterful composition, but also from the history and stories they convey.

Laurenz Berges: Early Then. Photographs

Schirmer/Mosel

"German photo artist Thomas Ruff is a master of conceptual serial photography. He made a name for himself in the early eighties with oversized, superrealistic color portraits of his artist friends and as a pioneer of the Diasec process used to mount photographic images onto acrylic glass, thereby obviating frames, liberating photography from the print gallery and paving the way to the “grand gallery” museum walls for large-format photos. This collection presents selected works from Thomas Ruff’s large-format series, beginning with his small Interiors, the large Portraits, his Architectural Photos, the Starry Skies, his abstract Substrata, the Nudes, which make use of pornographic material taken from the internet, and finally his latest creation: Stellar Landscapes. The book features essays by Thomas Weski and Okwui Enwezor and appears in conjunction with an extensive Thomas Ruff retrospective exhibition at the Haus der Kunst in Munich."

Thomas Ruff: Photographs 1979-2011

ENWEZOR, Okwui

Andreas Beyer says of artists' workplaces, "Places where important works were created have always been fascinating… one is immediately on the hunt for clues of the persona and the greatness of what has been made there, trying to locate them on the desk, the walls, the chairs, even in the curtains." The Mill documents the living and working spaces of Hilla and Bernd Becher, a former paper mill in Düsseldorf where the couple lived from 1961 to 2003. Matthias Petrus Schaller, (who was born in 1965, well after the Bechers first moved into this space) made these photographs in their last years there, between February 2001 and September 2002.

Matthias Petrus Schaller: The Mill

Steidl

At the end of the 1970s, serious artistic photography was still generally thought to be made only in black-and-white--despite major examples to the contrary, such as William Eggleston's ground-breaking 1976 show at The Museum of Modern Art in New York. Joachim Brohm was among the first of a younger generation of Germans to discover in color photography new opportunities for self-expression. His Ohio photographs, made in 1983 and 1984 while he was living in the state as a student and Fulbright scholar, show cluttered yards and houses and focus on apparently trivial and banal scenes of everyday American life. As one commentator puts it, "Brohm's images seem strangely empty. Their centers seem to have fled; a surface has appeared in front of the camera's lens that surrounds the actual image." At the time, such mundane scenarios were considered unworthy of photographic documentation, but today this approach constitutes almost an entire genre of its own. This precocity of subject and the use of color photography make the Ohio series gathered here a significant milestone in the history of photography.

Joachim Brohm: Ohio

Leo, Vince

Steidl Photography International

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