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Titre:
Dora Maar

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Résumé:
Dora Maar (born Henriette Théodora Markovitch, 1907–1997) was active at the height of Surrealism in France. She was recognized as a key member of the movement and maintained professional relationships with many of its prominent figures, such as André Breton, Brassaï, Henri Cartier-Bresson, and Man Ray. However, her standing as the one-time muse and mistress of Pablo Picasso—his famous “Weeping Woman”— has long eclipsed her creative output and minimized her influence. Illustrated with 240 key works showcasing Maar’s inimitable acumen as a photographer, this book examines the full arc of her career for the very first time. Subjects include her innovative commercial and fashion photography, approach to the nude and eroticism, engagement with political groups, interest in socially concerned photography, affiliation with the Surrealist movement, and hitherto unknown work from her reclusive late career, providing a dynamic and multifaceted examination of an important artist.

Titre:
Japan's modern divide : the photographs of Hiroshi Hamaya and Kansuke Yamamoto

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$54.95
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Résumé:
In the 1930s the history of Japanese photography evolved in two very different directions: one toward documentary photography, the other favoring an experimental, or avant-garde, approach strongly influenced by Western Surrealism. This book explores these two strains of modern Japanese photography through the work of two remarkable figures: Hiroshi Hamaya and Kansuke Yamamoto.

Titre:
Robert Polidori: synchrony and diachrony. Photographs of the J. Paul Getty Museum 1997

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Résumé:
This book presents 35 photos of the Getty Center taken shortly before the 1997 opening of its new multipurpose complex designed by Richard Meier. Published to coincide with the 20th anniversary of the center, the book reveals behind-the-scenes views of the building as objects from J. Paul Getty’s painting, sculpture and decorative arts collections were being installed inside it. In September 1997 the New Yorker commissioned Robert Polidori (born 1951) to photograph Meier’s building. Within 48 hours he had made images of its exterior but was dissatisfied. Polidori wanted to document the museum’s interior, and proceeded to photograph the rooms in which artworks were either freshly installed or still being so. The resulting photos show the museum in the process of taking shape, expose the mechanics of curatorship.