Портреты

Performance, von der Richard Avedon Foundation zusammengestellt, ist Avedons Hommage an alle Spielarten der darstellenden Kunste. Avedon liebte das Theater und war vom Buhnengeschehen seiner Zeit ebenso fasziniert wie von dessen Protagonisten. Alles, was in dieser schillernden Szene in den vergangenen 50 Jahren Rang und Namen hatte, landete fruher oder spater in seinem Studio: Judy Garland und Chaplin, Horowitz und Bernstein, die Beatles und Bob Dylan, Marlon Brando und Frank Sinatra, Martha Graham, Rudolf Nurejew, Merce Cunningham …

"We all perform. It's what we do for each other all the time, deliberately or unintentionally. It's a way of telling about ourselves in the hope of being recognized as what we'd like to be."
 - Richard Avedon, 1974

The preeminent stars and artists of the performing arts from the second half of the 20th century offered their greatest gifts - and, sometimes, their inner lives - to Richard Avedon. More than 200 are portrayed in Performance, many in photographs that have been rarely or never seen before. Of course, the great stars light the way: Hepburn and Chaplin, Monroe and Garland, Brando and Sinatra. But here too are the actors and comedians, pop stars and divas, musicians and dancers, artists in all mediums with public lives that were essentially performances, who stand at the pinnacle of our cultural achievement.

The celebrated author and critic John Lahr offers an elegant assessment of Avedon’s achievement. Four supremely talented artists from the performing arts - Mike Nichols, André Gregory, Mitsuko Uchida, and Twyla Tharp - contribute lively and moving memoirs about their collaborations with Avedon.

American photographer Richard Avedon (1923–2004) received widespread acclaim for his images in which he captured stars with their “masks dropped” and their true colors revealed. He was also notorious for the pitiless way in which he created these moments. For example, he told two great animal lovers, the Duke and Duchess of Windsor, that his taxi had run over a dog on the way to the photoshoot - and in that second he caught their horrified reaction on film. This attitude, however, was not reserved merely for the rich and famous. Through his legendary project In the American West, hundreds of his uncompromising portraits of common people became photographic icons.

This large-format publication presents over one hundred of his most beautiful classic images.

Richard Avedon photographed the faces of politics throughout his career and this book brings together his political portraits for the first time. Juxtaposing images of elite government, media, and labor officials with photographs of countercultural activists, writers and artists, and ordinary citizens caught up in national debates, it explores a five-decade taxonomy of politics and power by one of America’s best-known artists.

The book features Avedon’s extended projects on the civil rights debate in the early 1960s (published in 1964 in Nothing Personal); the American anti-war movement and the war in Vietnam from 1969-1971; portraits of the American power elite in 1976 for his groundbreaking Rolling Stone portfolio The Family; “Exiles: The Kennedy Court at the End of the American Century,” a retrospective homage to the Camelot generation, published in The New Yorker in 1993; and his final photo-essay, “Democracy,” surveying the American state of mind during the politically-fractious time prior to the country’s 2004 presidential election (published posthumously in The New Yorker in 2004).

Among the significant projects of the last years of his life, Richard Avedon (1923–2004) completed a book of his photographs of women. Always transcending categorization - he was both a fashion photographer and known as a “poet of portraiture” - Avedon was interested in seeing how elemental facts of modern life and human existence were reflected in his work. And what could be more elemental than women, who have mesmerized artists across the centuries? Looking at his work in this way, Avedon was able to create an unparalleled view of women in his time, a tumultuous half-century of rapidly changing social mores, cultural ideals, popular styles, and high fashion.

As an artist, he was deeply responsive to nuances of expression, gesture, and comportment, and his photographs unfailingly opened a window to the interior lives of his subjects. These ranged from celebrities (Marilyn Monroe), artists (Maria Callas, Isak Dinesen), and high-fashion models (Suzy Parker, Kate Moss) to women who simply drew his attention. Like the best of art and literature, Avedon's portraits evoke rich lives and complex experiences. An incisive essay by art historian Anne Hollander offers an overview of a half-century of Avedon's images of women.

About the Authors:

Richard Avedon was one of the most celebrated photographers of the 20th century. His portrait work comprises an authoritative record of our era and he redefined the fashion photograph. In 1992, he became the first staff photographer of The New Yorker.
Anne Hollander is the author of several books, including Feeding the Eye, Moving Pictures, and Seeing Through Clothes.

This title offers information that ranges from birth to death and beyond. This book depicts people at some of the most emotional moments of their lives. For more than seven years Anders Ryman traveled the world documenting life cycle rituals. The result is a book that in intimate and stunning pictures portrays more than thirty rituals from all parts of the globe. The rites range from the blessing of the newborn in a small village in Spain to a girl's initiation into womanhood among the Apaches of Arizona; from the Xhosa male initiation ceremony in South Africa to the communion with the dead during Todos Santos in Bolivia; from a woman's first childbirth in Palau to the wedding ceremonies in the Shinto shrines of Tokyo. This book is about the journey through life, about cultural diversity and what unites us all as human beings.

1950s French Riviera: a haven for movie stars who came to the Cannes Film Festival and then stayed on. Away from agents and studio heads, they could relax with their families and spend their days by the pool at the famous Eden Roc, or exploring the tiny sunbaked villages along the coastline. In the evenings there was a glittering choice of events - gala nights, the Sporting d’Ete, or dinner and dancing at Les Ambassadeurs in Cannes. Irish photographer Edward Quinn stepped, by accident, into this international society when visiting a friend in Monte Carlo a few years after the war. He fell in love with the Côte d’Azur and realised he might make his living photographing the stars taking their ease, off the screen.

The stars he photographed are names that are a roll call of cinematic artistocracy: Garbo, Taylor, Brando, Grant, Peck, Bergman, Hayworth, Hepburn, Cooper, Welles, Loren, Lollobrigida, Dietrich…and of course Grace Kelly and Prince Rainier.

Many of these photographs have never been exhibited or published before. They are a record of an age when "star quality" came with a lifestyle to match, when tiaras, ballgowns and dinner jackets were de rigeur every evening: an age of elegance.

156 duotone photographs

The French Riviera of the Fifties was an exciting place with much change in the air. Rock and roll and the bikini, existentialism and the atom bomb. Edward Quinn chronicled a playground that was influenced by international trends, but very much its own universe. On the Riviera every night was a party.

Born in Dublin in 1920, Edward Quinn played Hawaiian guitar in Belfast, then went into the Royal Air Force. He eventually made his way to the Cфte d'Azur, where he photographed world leaders, glamour girls and playboys, as well as figures from the worlds of art, music and literature. His most memorable work included images of an unknown Audrey Hepburn, Grace Kelly's first meeting with Prince Rainier, and a precocious Brigitte Bardot. His exacting eye showcased Picasso, T.S. Eliot, and Gary Cooper. With a polished technique and great patience and charm, Quinn caught some of the post-war Riviera's most memorable moments.

* A tantalizing look at post-war leisure, sure to appeal to photography aficionados and culture buffs alike
* Packaged in a special linen slipcase, and accompanied by an authentic Edward Quinn photo print, signed by his widow Gret Quinn
* A must-have for lovers of Riviera glamour, fifties-style

Doisneaus photographs of the now vanished Les Halles evoke nostalgia for the days when the vast market, which sprawled haphazardly over the center of the city, was known as the belly of Paris. Once alive with the cries of fruit-sellers, fish-vendors, butchers, and florists, the scent of brightly-colored flower bouquets intermingling with wafts of freshly baked bread, and heaving with swarms of market-goers, today there is no trace of the nine-hundred-year-old market place that used to stand in the center of Paris at Les Halles.

The immense Baltard Pavilions were torn down in 1971 to make way for a modern underground shopping precinct, but Parisians still hold a special affection for days gone by when, to borrow an expression used by Émile Zola, the bustling markets formed the belly of their city. One such Parisian in particular was Robert Doisneau, one of the best loved French photographers of all time. Driven by his relentless curiosity and a sense of social conscience, Doisneau paced the Pavilions and their neighboring streets at length, and here he captured the heart of daily life at Les Halles.

Many of Doisneaus romantic photographs have become iconic representations of twentieth-century Paris, but this volume exhibits some of his lesser-known but nonetheless extraordinary works. He had an uncanny capacity for capturing poetry in ordinary moments: a smiling fruit-seller bellows from behind a pyramid of oranges, while a fish-vendor hauls a cart of gigantic fish past a mountain of flower bouquets ready to grace Parisian dinner tables, which you can virtually smell.

Doisneau has immortalized the bustling magic of Les Halles in his bold and busy photographs. Coinciding with the long-awaited redevelopment of this area that began in 2011, this volume plunges the reader back through time to the sights, smells, sounds, and tastes of the vanished era of Doisneaus Les Halles, whilst commentary from the photographers personal notebooks places his images in their economic and political context.

Lynn Goldsmith’s vast body of work testifies to her passion for rock and roll. Beginning in the late 1960s, she plunged into the scene working at Electra Records making promotional films. She worked with Joshua White, of the famed Joshua Light Show, creating Video Magnification at rock concerts and went on to become the first director of Late night network Television's ABC In-Concert series. Besides directing, she managed bands and then launched her own music career as Will Powers with the help of established artists like Steve Winwood, Sting, and Todd Rundgren, among others, all the while taking brilliant photographs. Equally at home in the photo studio and shooting reportage, she compiled an unparalleled portfolio of hard-to-get images. Whether the subject be punk, alternative, commercial pop, or the rarified world of the superstars of rock, Goldsmith has a vast range of rare and unusual photographs.

Rock and Roll is a collection of her best work, accompanied by quotes from many of her subjects provided especially for this book. It includes three gatefolds with rock-mosaics made up of thousands of her photographs of the Rolling Stones, Bruce Springsteen and Kiss.

The introduction is by Iggy Pop, formerly of the Stooges, the godfather of punk.

Lynn Goldsmith’s work has appeared on and between the covers of Life, Newsweek, Time, Rolling Stone, Sports Illustrated, People and many other magazines. Among her ten books are PhotoDiary, NY Times Bestseller New Kids, Springsteen: Access All Areas, and Flower. A director as well as a photographer, Goldsmith was the youngest member ever to be inducted into the Director’s Guild of America. She lives in New York City and Aspen, Colorado

Features more than two hundred full-color photographs and commentary reflecting four decades of images capturing the icons, legends, concerts, and great moments in the history of rock music, including Jimi Hendrix, Elton John, Eric Clapton, and many others.

For enthusiasts, rockabilly isn’t just a kind of music; it’s a way of life. A raw fusion of rhythm and blues with country and western, rockabilly heralded the start of teenage rebellion in America in the early 1950s. The stripped-down sound witnessed a revival in the 1970s that has continued until today, with modern rockabillies embracing not only the music, but also the clothes, cars and lifestyle of the 1950s youth counterculture. Rockin’ is photographer Andrew Shaylor’s unique portrayal of the contemporary rockabilly scene. Granted exclusive access at events on both sides of the Atlantic, Shaylor captures the raw energy of the music and the commitment of the rockabilly community to authenticity. Featuring the history of the subculture by rockabilly legend Jerry Chatabox, this striking book evokes the passion and intensity of a scene that is as exciting today as it was more than 50 years ago.

_Over 250 stunning images capture the bands, dancing, fashion and cars that define the rockabilly subculture
_Features rockabilly events in both the United States and Britain
_With a specially commissioned foreword by Jerry Chatabox, stalwart of the contemporary rockabilly scene

Это не первая книга о ROLLING STONES. Можно побиться об заклад, что она будет далеко не последней.

Почти 50 лет ROLLING STONES являются объектом, приковывающим внимание миллионов последователей, критиков и недоброжелателей.

С момента появления группы неоднократно объявлялось о ее закате. Но каждый раз они ломали стереотипы, создавая музыку, которая помогала передать дух своего времени и, в конечном счете, становилась вечной.

Unser Band, der aus Anlass des 70. Geburtstags von Romy Schneider (1938–1982) neu aufgelegt wird, ist eine Hommage in Bildern, die all die glanzvollen, intimen, auch tragische Momente der beruflichen und privaten Metamorphose Romy Schneiders vom »süßen Mädel« zur schönen, selbstbewussten Frau, zur gefeierten Schauspielerin und Diva versammelt. Es sind Photographien, die der italienisch-französische Photograph Giancarlo Botti von Romy zwischen 1961 und ihrem Tod 1982 aufgenommen hat. Die frühesten Bilder zeigen sie im Modesalon von Coco Chanel bei der Kostümprobe für ein Filmprojekt mit Luchino Visconti. In den folgenden zwei Jahrzehnten photographierte er sie u. a. bei den Dreharbeiten von Was gibt’s Neues, Pussy?, Halb elf in einer Sommernacht, Spion zwischen zwei Fronten, Die Geliebte des anderen, Das Mädchen und der Kommissar, Nachtblende, Gruppenbild mit Dame und Eine einfache Geschichte. Der vertraute Umgang zwischen dem Photographen und seinem Star führte auch dazu, dass Romy ihn häufig zu privaten Phototerminen bat. So nahm er Romy mit Sohn David in ihrer Pariser Wohnung auf und photographierte ihre Hochzeit mit Daniel Biasini. Die Beziehung fand ihren Höhepunkt in einer großen erotischen Aktserie, die Romy Schneider selbst angeregt hatte und die hier erstmals zusammenhängend veröffentlicht ist. Giancarlo Botti, 1930 in Italien geboren und seit Ende der 50er Jahre in Frankreich ansässig, machte sich mit Photoreportagen und Prominenten-Portraits einen Namen. Unser Band ist das Zeugnis einer langjährigen, von Sympathie und zunehmender Vertrautheit geprägten Zusammenarbeit mit Romy Schneider, die 1960 mit einem Reportage-Auftrag der französischen Frauenzeitschrift Marie Claire begann.

An intimate glance at Hollywood behind closed doors is revealed in this collection of glamorous, erotic and fascinating photographs shot in the Penthouse suite at the Peninsula Hotel in Beverly Hills.

Throughout the year of 2008 an exquisite selection of celebrities including George Clooney, Cindy Crawford, Minnie Driver, Eva Herzigova, Dennis Hopper, Rachel Hunter, Sir Elton John, Heidi Klum, Kid Rock, Ray Liotta, Lindsay Lohan, Tatjana Patitz, Christian Slater, Sharon Stone and Donald and Rossif Sutherland were all invited to “live” in Room 23.

Deborah Andersonʼs photographic gaze is able to lasciviously lure Sharon Stone into bed with Cheryl Tiegs, makes men crawl submissively at Lindsay Lohan feet and brings a coquette smile to Heidi Klum pretty face while standing next to a bellboy with his exposed derrière.

Shooting people in beds and bathtubs, Deborah Andersonʼs sensual point-of-view lets her get physically close to her subjects, but also allows her to capture the essence of their personality, their sex appeal, sense of humor, irony and at times lets seep through their innermost fantasies. Despite all, her subjects remain the untouchable icons we know and adore - behind locked hotel room doors they are removed from reality, distantly desirable and mysterious. A simple peek through the voyeurʼs keyhole gives us a taste of luscious perfection we long for.

The celebrities portrayed in this book were invited by Diana Jenkins, to many more than a mere acquaintance. Growing up in Sarajevo, this charismatic businesswoman now lives divided between London and Los Angeles. After escaping the horrors of the Bosnian War, in which she lost a brother, Diana Jenkins established an international foundation dedicated to rebuilding the infrastructure of a war-tattered nation.

The idea for this book sprung from an encounter with Deborah Anderson, whose style in photography has been located by the Los Angeles Times as somewhere between classic French erotica and Helmut Newton. Like her father Jon Anderson, legendary lead vocalist of YES, Deborah has worked with many music talents over the years as singer songwriter.