{"id":6315,"date":"2013-05-01T12:00:00","date_gmt":"2013-05-01T17:00:00","guid":{"rendered":"https:\/\/photographmag.com\/may-june-2013-photo-books\/"},"modified":"2023-02-01T17:23:54","modified_gmt":"2023-02-01T22:23:54","slug":"may-june-2013-photo-books","status":"publish","type":"post","link":"https:\/\/photographmag.com\/photo-books\/may-june-2013-photo-books\/","title":{"rendered":"Garry Winogrand, Bill Brandt: Shadow and Light, Brandt Nudes, James Welling: Monograph, Imogen Cunningham, Impossible Reminiscences, Damaged Negatives, Object, Teenage Precinct Shoppers, Amateurs &#038; Lovers"},"content":{"rendered":"<p>The season\u2019s Big Books \u2014 the ones no photography enthusiast or collector can ignore \u2014 are almost all monographs. Top of the list are two catalogs for important exhibitions reviewed elsewhere in this issue: the hefty <strong>Garry Winogrand<\/strong> (SFMOMA\/Yale), shrewdly edited by Leo Rubinfien, and Sarah Hermanson Meister\u2019s slimmer but no less substantial<strong>Bill Brandt: Shadow and Light<\/strong> (MoMA), both of which deliver new material (several books\u2019 worth in the case of Winogrand) and sharp insight. The ideal companion to Meister\u2019s book,<strong>Brandt Nudes<\/strong> (Thames &amp; Hudson), focuses on the photographer\u2019s most innovative and influential series. If, as Lawrence Durrell writes in the introduction, Brandt \u201cis to photography what a sculptor is to a block of marble,\u201d it\u2019s due primarily to his dramatically skewed perspective on the female figure. Other essential (and smartly designed) exhibition catalogs include <strong>James Welling: Monograph<\/strong> (Aperture), James Crump\u2019s thorough investigation of the brilliant career of a Pictures Generation artist who refuses to be pinned down to one stylistic approach (on view through May 5 at the Cincinnati Art Museum before it goes to Fotomuseum Winterthur), and <strong>Imogen Cunningham<\/strong> (TF Editores\/D.A.P.), an eye-opening survey of the exemplary modernist\u2019s subtle, seductive work over 70 years (continuing through September at Kulturhuset, Stockholm).<\/p>\n<p>Another heavyweight contender: Rene Burri\u2019s <strong>Impossible Reminiscences<\/strong> (Phaidon), the 80-year-old Magnum photographer\u2019s first book of color work, much of it previously unpublished. Best known for his portrait of Che Guevara with an erect cigar, Burri avoids iconic subjects here in favor of everyday people and landscapes from a lifetime of travels to Moscow, Beirut, Jaipur, Mexico City, and beyond. Although many of the pictures were taken while on assignment, most are asides \u2014 more spontaneous, atmospheric, and poetic than strictly reportorial. Shuffling chronology, the book is organized by color, from green to red, in a sequence that feels genuinely intuitive, and nearly every image is annotated in an index of diary-like \u201creminiscences.\u201d Many of Burri\u2019s anecdotes are brief \u2014 pinned down by a hurricane in Havana, caught and injured between student rioters and police in Seoul \u2014 and not always to the point, but they all give a sense of the adventurous life that went into this rich, wide-ranging, and entirely surprising work.<\/p>\n<p>But there\u2019s something to be said for small packages, and David Strettell\u2019s Dashwood Books has been putting out some of the best. A prime source for new, rare, and foreign photo books in New York, Dashwood issued Vol. 1 of its Book Series in 2011, including titles by Ari Marcopoulos,&nbsp;Sam Falls, Andreas Lazlo Konrath, and Janette Beckman. Seven more softcover titles, each about the size of a small composition notebook, make up Vol. II, and&nbsp;it\u2019s another remarkably varied (and affordably priced) batch. Among my favorites:<strong>Damaged Negatives<\/strong>, the gorgeous ruins of Glen Luchford\u2019s personal pictures, salvaged from a flooded storage space (Kate Moss and John Lurie survive the black splotches);<strong>Object<\/strong>, a collection of Robert Mapplethorpe\u2019s elegantly raunchy early \u201870s collage work, much of which incorporates gay porn or religious iconography (Patti Smith, a frequent collaborator, writes, \u201cI would trade all the coffee in the world to watch his hands at work\u201d);<strong>Teenage Precinct Shoppers<\/strong>, Nigel Shafran\u2019s terrific, real-life fashion photographs, taken at British malls in the early \u201890s, some of which originally appeared in <em>i-D<\/em>; and <strong>Amateurs &amp; Lovers<\/strong>, Nikolay Bakharev\u2019s irresistibly vivacious black-and-white portraits of Russians \u2014 couples, families, friends \u2014&nbsp;on vacation and girls in bed, relics of the old Soviet Union that haven\u2019t lost a bit of their erotic charge. Slated for Vol. III,&nbsp;sometime next year: Rinko Kawauchi, Bruce Gilden, and Viviane Sassen.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>The season\u2019s Big Books \u2014 the ones no photography enthusiast or collector can ignore \u2014 are almost all monographs. Top of the list are two catalogs for important exhibitions reviewed elsewhere in this issue: the hefty Garry Winogrand (SFMOMA\/Yale), shrewdly edited by Leo Rubinfien, and Sarah Hermanson Meister\u2019s slimmer but no less substantialBill Brandt: Shadow [&hellip;]<\/p>\n","protected":false},"author":5,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_seopress_robots_primary_cat":"none","_seopress_titles_title":"","_seopress_titles_desc":"","_seopress_robots_index":"","_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"6760,7216,6521,7187,11441,11421,6560,1611,6740,18447,7217,6869","_relevanssi_noindex_reason":"","footnotes":""},"categories":[9],"tags":[],"issues":[108],"acf":[],"_links":{"self":[{"href":"https:\/\/photographmag.com\/wp-json\/wp\/v2\/posts\/6315"}],"collection":[{"href":"https:\/\/photographmag.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/photographmag.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/photographmag.com\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/photographmag.com\/wp-json\/wp\/v2\/comments?post=6315"}],"version-history":[{"count":0,"href":"https:\/\/photographmag.com\/wp-json\/wp\/v2\/posts\/6315\/revisions"}],"wp:attachment":[{"href":"https:\/\/photographmag.com\/wp-json\/wp\/v2\/media?parent=6315"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/photographmag.com\/wp-json\/wp\/v2\/categories?post=6315"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/photographmag.com\/wp-json\/wp\/v2\/tags?post=6315"},{"taxonomy":"issues","embeddable":true,"href":"https:\/\/photographmag.com\/wp-json\/wp\/v2\/issues?post=6315"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}