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Titre:
Joel Sternfeld : sweet earth - experimental utopias in America

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$78.00
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Résumé:
The photograph Joel Sternfeld has selected sixty representative historic or present American co-housing "utopias" or communities. A photograph of each is accompanied by a brief text that summarizes the most salient aspects of the history or organization of the community. Neither a conventional history nor a conventional book of photography, "Sweet earth" brings together what might otherwise seem disparate, individualized social phenomena and makes visible the community of communities.

Titre:
Joel Sternfeld: Nags Head

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$79.00
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Résumé:
In the summer of 1975, facing surgery with the potential of paralysis, a young Joel Sternfeld went off in search of a last idyll-- and found it in Nags Head, on North Carolina’s Outer Banks. From June to August he captured the beach town floating in time, a sense of spatial and temporal fluidity. Sternfeld’s images show beachgoers of all ages enjoying scenes of leisure and partying in what became his first body of work addressing a season. Yet this summer sojourn was tragically broken by the news of the death of his brother; Sternfeld returned to New York, never to go back to Nags Head. Eventually he began working again and one day ventured to Rockaway Beach, Queens. Here he took a picture in which "all at once the ugly scene appeared beautiful to me": the hues of sand, apartments and sky fuse into a cohesive whole. This photo, with its conceptual roots in Nags Head, would lead to the color structures of Sternfeld’s magnum opus American Prospects, his ambitious realization of what he had always wanted to do: follow the seasons across America.

Titre:
Landscapes after Ruskin: redefining the sublime

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$61.95
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Résumé:
John Ruskin was an influential English art critic and social thinker of the Victorian era, who famously argued that the principal concern of the artist is “truth to nature.” For Ruskin, this truth entailed more than merely adept technical representation, but rather, should depict the natural world as mankind experiences it, with all the sensations of both beauty and terror it elicits. Today, in a world overwhelmed by industrial development and environmental uncertainty, contemporary artists are discovering new beauties and terrors associated with nature, invoking a sense of the sublime that is uniquely modern. "Landscapes after Ruskin" explores how a joyful experience of nature is now mixed with a particular dread as the earth and its atmosphere are increasingly touched by human activity.

Titre:
Joel Sternfeld : first pictures

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$81.95
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Résumé:
This is the first book of Sternfeld's largely unseen early colour photographs. In 1969 Sternfeld began working with a 35 mm camera and Kodachrome film, and First Pictures contains works from this time until 1980. Here Sternfeld develops traits that appear in his mature work: irony, a politicised view of America and concern for the social condition.

Titre:
Joel Sternfeld : walking the High Line

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$35.00
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Résumé:
Since March 2000, photographer Joel Sternfeld has been documenting the abandoned elevated railway, the High Line, which runs down the West Side of Manhattan. Sometimes a river of grass, sometimes more like wheat fields of Canada, this unique ruin permits contemplation of nature, and of cityscape. Walking the path of this true time landscape, experiencing the seasons as they unfold in a ribbon within the vertical architectural landscape of New York City, Sternfeld has created a suite of images marked by quiet grace and formal rigor. In Walking the High Line, as in all of his work, landscape is read as a social and cultural indicator.

Titre:
Frank Gohlke & Joel Sternfeld: landscape of longing

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$90.00
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Résumé:
In 2003, Frank Gohlke and Joel Sternfeld were commissioned to photograph one of the densest concentrations of ethnic diversity in the world, the borough of Queens in New York City. After more than a year of photographing everything from corner bodegas to the borough’s boundaries, Gohlke and Sternfeld had not only captured the complicated dynamic that sustains Queens and its myriad communities; they had also evolved a unique theory of landscape photography in which landscape is a visible manifestation of the invisible emotions of its inhabitants. The collection inherits the strength of each photographer’s eye. Gohlke’s Queens consists of streets, houses, fences, gardens, parklands, shorelines, and waste spaces, the territory where human arrangement contends endlessly with the forces that undo it: unruly vegetation, weather, rot, decay, and the “creative destruction” of a voracious commercial culture. Sternfeld focuses on the indigenous shops, restaurants, mosques and temples that make a walk in Queens feel like a walk in Thailand, India or Peru—or all of them at once. Often tucked into homes or converted factories, these places signify a home country, or perhaps a home country that exists more in the mind than in actuality. In conjunction with an essay by the acclaimed writer Suketu Mehta, this book is a powerful instrument for understanding a landscape that seems to defy interpretation. Gohlke and Sternfeld successfully make the dizzying patchwork of Queens accessible and visible.