Don McCullin (Author)
,
Harold Evans (Introducer)
The updated retrospective published for McCullin's 80th birthday.
Contains 40 new unpublished photographs and a new introduction — the definitive edition.
McCullin’s reputation has long been established as one of the greatest photographers of conflict in the last century. In the fourteen years since the first publication of the book, McCullin has shed the role of war photographer and become a great landscape artist. He has also travelled widely through Africa, India, the Middle East and among the tribes living in Stone Age conditions in Indonesia. His journey from the back streets of north London to his rural retreat in the depths of Somerset is unparalleled. It includes a passage through the most terrible scenes of recent history, for which his stark views of the West Country offer him some redemption.
Arthur Lubow (Author)
Diane Arbus was one of the greatest photographers of the last century. Her portraiture of freaks, circus performers, twins, nudists and others on the social margins connected with a wide public at a deep psychological level. Her suicide in New York in 1971 overshadowed the reception to her work. Her posthumous exhibition at the Museum of Modern Art a year later drew lines around the block.
She was born into a Russian-Jewish family, the Nemerovs, who owned a department store on Fifth Avenue. They were family friends with the Avedons. Richard Avedon later championed Arbus’s work. Avedon rose to greater and greater commercial success through the magazine world. Arbus died in a rent-protected apartment scrambling to earn her keep with odd teaching assignments. Lubow’s biography begins at the moment Arbus quit the world of commercial photography to be an artist. She was uncompromising in that ambition. The book ends with her death. The entire narrative is a slow march towards that event.
Norma Stevens (Author)
,
Steven M. L. Aronson (Author)
Richard Avedon was arguably the world’s most famous photographer – as artistically influential as he was commercially successful. Over six richly productive decades, he created landmark advertising campaigns, iconic fashion photographs (as the star photographer for Harper’s Bazaar and then Vogue), groundbreaking books and unforgettable portraits of everyone who was anyone. He also went on the road to find and photograph remarkable uncelebrated faces, with an eye toward constructing a grand composite picture of America.
Avedon dazzled even his most dazzling subjects. He possessed a mystique so unique it was itself a kind of genius – everyone fell under his spell. But the Richard Avedon the world saw was perhaps his greatest creation: he relentlessly curated his reputation and controlled his image, managing to remain, for all his exposure, among the most private of celebrities.
No one knew him better than Norma Stevens, who for thirty years was his business partner and closest confidant. In Avedon: Something Personal – equal parts memoir, biography and oral history, including an intimate portrait of the legendary Avedon studio – Stevens and co-author Steven M. L. Aronson masterfully trace Avedon’s life from his birth to his death, in 2004, at the age of eighty-one, while at work in Texas for The New Yorker (whose first-ever staff photographer he had become in 1992). The story of his two failed marriages and the love affairs he kept hidden – Avedon was a man haunted by guilt – is told here for the first time.
The book contains startlingly candid reminiscences by Mike Nichols, Calvin Klein, Claude Picasso, Renata Adler, Brooke Shields, David Remnick, Naomi Campbell, Twyla Tharp, Jerry Hall, Mikhail Baryshnikov, Bruce Weber, Cindy Crawford, Donatella Versace, Jann Wenner and Isabella Rossellini, among dozens of others.
Avedon: Something Personal is the confiding, compelling full story of a man who for half a century was an enormous influence on both high and popular culture, on both fashion and art – to this day he remains the only artist to have had not one but two retrospectives at the Metropolitan Museum of Art during his lifetime. Not unlike Richard Avedon’s own defining portraits, the book delivers the person beneath the surface, with all his contradictions and complexities, and in all his touching humanity.
Cecil Beaton (Author)
At the beginning of the Second World War the Ministry of Information, through the advice of Kenneth Clark, commissioned Cecil Beaton to photograph the Home Front. Beaton set to work recording the destruction of the Wren churches in the City and the heroism of Londoners under attack. He conducted a survey of Bomber and Fighter Commands for the RAF, which was published with Beaton's own astute commentary. Beaton was an effective propagandist, but his voice, like his photographs, was touchingly elegant. Whatever his subject, Beaton was always a stylist.
Beaton's wartime work for the Ministry amounted to seven thousand photographs, which are now housed with their negatives at the Imperial War Museums. They form a great document both of the landscape of war and of the passing of the Empire. He travelled through the Western Desert and on to Iraq, Palestine, Transjordan and Syria. In 1943 he left for India where he photographed the final days of the Raj in New Delhi and Calcutta before joining the Burma campaign. He ended the war deep in Chinese territory where he witnessed the Nationalist resistance to the Japanese.
Beaton's inherent sense of theatre extended from palatial drawing rooms to the jungle and the desert. Whatever the circumstances he never departed from his radical aesthetic. Theatre of War is published in conjunction with the Imperial War Museums on the occasion of a major exhibition.
