LIBRI DI FOTOGRAFIA

Ugo Mulas, Nanni Balestrini
Editore Achille Mauri

Ed van der Elsken
Fragment Uitgeverij

Enzo Obiso
Galleria Cardi

John Kobal
Dover pubblications

Giuliano Sergio, Achille Bonito Olivia
Johan & Levi editore

Ferdinando Scianna
Edizioni Henry Beyle

Franco Giorgetti
Rusconi

Giulia Cogoli e Davide Daninos
Contrasto

Dennis Hopper
Twelvetrees Press

Deanna Templeton
Schunck

Dacia Maraini
Casa Editrice Moda Italiana

Serena Berno, Roberto Cassanelli
Edizioni Gallerie d'Italia - Skira

Paul Strand
Idea Books

Carlo Borlenghi; Andrea Vitali
Cinquesensi

Guido Argentini
teNeues Publishing Company

The sculpture of Michelangelo, Rodin, and Brancusi, serve as the inspiration for Guido Argentini's masterly photographs of the female nude. Published together for the first time in this breathtaking collection taken over a period of seventeen years, Argentini's astute focus on the female form achieves the transformation of bodies into objects of art. We are presented with two distinct series of spectacular photos. The first is shot in locations around the world in a way that fuses the body with the landscape while in the second, dancers and gymnasts are photographed in contorted positions in the studio. Covered with a veil of oil or a coat of metallic paint and exquisitely lit, the bodies leap off the page with an astounding three dimensionality.

Raul Corrales
s.e.

s.a.
s.e.

AA.VV.
The Solomon R. Guggenheim Museum

During the late 1960s and 70s, a paradigm shift occurred within visual culture: photography and the moving image were absorbed into critical art practices. In particular, these mediums were used to record ephemeral or performative events and to render visible conceptual systems or to question the supposed objectivity of representation itself. This volume focuses primarily on artworks from the last decade and proposes that the extensive use of reproducible mediums in today's art has its roots in an earlier formative period. By the end of the 70s, many artists turned to photography as a vehicle through which to critique photographic representation and to subvert an art system premised on the notion of the original. While this practice came to define much of the 80s postmodern art, its legacy for the 90s was essentially the license to indulge in photographic fantasy, image construction, and cinematic narrative. Artists working today freely manipulate their representations of the empirical world or invent entirely new cosmologies. They process their subject matter through conceptual systems or use digital processes to alter their images. Some directly intervene in the environment, subtly shifting components of the found world and establishing their quiet presence in it; others fabricate entire architectural environments for the camera lens. This current state of the arts and its recent history are represented via more than 150 works by 55 artists, including Nam June Paik, Kara Walker, Felix Gonzalez-Torres, Marina Abramovic, Vito Acconci, Ana Mendieta, Bruce Nauman, Robert Smithson, Christian Boltanski, Sophie Calle, Fischli & Weiss, Ann Hamilton, Robert Mapplethorpe, Annette Messager, Cindy Sherman, Bernd and Hilla Becher, Elger Esser, Andreas Gursky, Candida H fer, Thomas Ruff, J rge Sasse, Thomas Struth, Olafur Eliasson, Roni Horn, Gabriel Orozco, Hiroshi Sugimoto, Matthew Barney, Gregory Crewdson, Anna Gaskell, Sam Taylor-Wood, Oliver Boberg, James Casebere, Thomas Demand, Vanessa Beecroft, Wolfgang Tillmans, Patty Chang, Trisha Donnelly, Stan Douglas, Pierre Huyghe, William Kentridge, Steve McQueen, Shirin Neshat, John Pilson and Gillian Wearing.

Giuliana Scimé
Edizioni Nova Milano

Isabel Muñoz
Leonardo arte

Albert Saladini
jazz à juan

AA.VV.
Edition Braus

Luigi Erba
Fotografia Italiana

Andrei Navrozov
Hurtwood Press

Andrei Navrozov has described himself as a political refugee from Russia, a cultural refugee from America, and a gastronomic refugee from Britain. Yet the theme of his new book is altogether less flippant: where in the homogenizing and modernizing Europe would the hardened individualist find a last refuge? The answer to that question takes the reader on an uncompromising, occasionally eccentric but deeply personal and always entertaining travelogue with the author on his first day in Rome to his last night at the Venetian Hotel in Las Vegas, and through a number of Italian cities, with sidelong glances at 70s Moscow, 80s New York, and 90s London. All of which leads him to "home" and the end of his flight from social progress: Palermo. Italy. Accompanying him to each of these destinations is the author's Phiz, the Russian photographer Gusov. His forty-eight arresting images serve to give another dimension to Navrozov's ideas, arguments, and impressions.