Questo individuo è stato un influente fotografo, curatore, storico e critico. Ha ricoperto un ruolo fondamentale nella fotografia presso il Museum of Modern Art di New York per molti decenni.
Robert Adams' 'The New West' signalled a shift in photographic representation of the American landscape. Eschewing a romanticized Western landscape, Adams focused instead on the man-made environment: motor-homes, malls, highways. Rendered in middle-grey scale, these pictures depict a despoiled Colorado landscape
"In celebration of the one hundredth anniversary of the birth of Ansel Adams, Little, Brown and Company publishes the most significant book yet on his work - an oversized Centennial volume edited and with a text by the curator John Szarkowski. Szarkowski has selected what he considers Adams' greatest work - 114 images - and has tracked down the single best photographic print of each. This is the first serious effort to recognize Adams' achievements as an artist since his death in 1984. Szarkowski presents an unexpected and sometimes unfamiliar body of work. His critical essay speaks to his judgment of the importance of Ansel Adams as a modern artist."--BOOK JACKET.
One of the most distinguished practitioners of portrait and fashion photography of the mid-twentieth century, Irving Penn's work is identified by its refinement of craft, by the wit and grace of its formal invention, and by its sensitivity to the quality and character of light. Backed by Vogue magazine, Penn brought a classic economy and concentration to the overblown world of fashion photography, to portraits of artists, writers, and theater people, and to ethnographic studies of style and ornament in little-known corners of West Africa, Nepal, Peru, and New Guinea. This book, published in conjunction with an exhibition at The Museum of Modern Art, is the first comprehensive retrospective of Penn's work. The essay by John Szarkowski follows a brilliant career, from its art-school beginnings to the provocative still lifes, photographs of cigarette butts and street detritus--works of eloquence and classical rectitude, made from the least consequential of subject matter.--From publisher description.
Profuse black-and-white plates & full-page illustrations reproducing photographs by Harry Callahan. Edited and with an introduction by John Szarkowski. Published in association with the Museum of Modern Art, New York on the occasion of an exhibition held at the museum from December 2, 1976 to February 8, 1977.
Features new duotone reproductions of one hundred landmark photographs from the collection of The Museum of Modern Art that chronicle the historical evolution of the photographic arts in works by Adams, Weston, Stieglitz, Steichen, and other notable photographers. Reprint. 10,000 first printing.
A new edition of the author's classic, long-out-of-print, photographic study of the work of architect Louis Sullivan is accompanied by excerpts from Sullivan's own writings, contemporary critical analyses of the architect's work, new duotone reproductions, and a new introduction assessing Sullivan's influence on the history of modern architecture. 15,000 first printing.
The Photographer's Eye by John Szarkowski is a twentieth-century classic--an indispensable introduction to the visual language of photography. Based on a landmark exhibition at The Museum of Modern Art in 1964, and originally published in 1966, the book has long been out of print. It is now available again to a new generation of photographers and lovers of photography in this duotone printing that closely follows the original. Szarkowski's compact text eloquently complements skillfully selected and sequenced groupings of 172 photographs drawn from the entire history and range of the medium. Celebrated works by such masters as Cartier-Bresson, Evans, Steichen, Strand, and Weston are juxtaposed with vernacular documents and even amateur snapshots to analyze the fundamental challenges and opportunities that all photographers have faced. Szarkowski, the legendary curator who worked at the Museum from 1962 to 1991, has published many influential books. But none more radically and succinctly demonstrates why--as U.S. News & World Report put it in 1990--"whether Americans know it or not," his thinking about photography "has become our thinking about photography."
“At least a dozen of Helen Levitt’s photographs seem to me as beautiful, perceptive, satisfying, and enduring as any lyrical work that I know. In their general quality and coherence, moreover, the photographs as a whole body, as a book, seem to me to combine into a unified view of the world, an uninsistent but irrefutable manifesto of a way of seeing, and in a gently and wholly unpretentious way, a major poetic work.”—James AgeeWorld-renowned for her iconic black-and-white street photographs, New York City’s visual poet laureate Helen Levitt also possessed a little-known archive of color work, which was been collected for the first time in Slide Show , her third powerHouse Books monograph.In 1959, and again in 1960, Helen Levitt received grants from the Guggenheim Foundation to photograph in color on the streets of New York, where she had photographed two decades earlier in black-and-white. But tragically, the best of these pioneering color pictures were stolen from her apartment in 1970 and she had to start over again. In 1974 the new work was shown as a continuous slide projection at New York’s Museum of Modern Art—an early example of a slide show presentation by a museum and one of the first exhibitions of serious color photography anywhere in the world.Slide Show presents more than one hundred photographs—including eight surviving images from the 1959–60 series—more than half of which have never been exhibited or published before. This impressive monograph is a worthy successor to her magnum opus, Crosstown (powerHouse, 2001), which included the largest collection of her color pictures to date, and to her more intimate volume of black-and-white work, Here and There (powerHouse, 2004), which presented more than eighty “unknown” Levitts taken over six decades.
Winogrand's zoo, even if true, is a grotesquery. It is a surreal Disneyland where unlikely human beings and jaded careerist animals stare at each other through bars, exhibiting bad manners and a mutual failure to recognize their own ludicrous predicaments.--John SzarkowskiThe Animals is a classic photo book by the incessant, masterful photographer Garry Winogrand, reissued in a new edition by The Museum of Modern Art, New York, which first published the book in 1968. In it, Winogrand leaves the streets of the city for the caged aisles of the real urban jungle, the zoo, where he captures some of the more humiliating and strange moments in the lives of God's creatures. See a lion stick its tongue out between chain-link fencing, an orangutan pee into another's mouth, a hippo give a great big yawn, two lions lamely going at it, and seals watching lovers kiss.
