Damiani – förlag

Stunning photography reveals the hidden architecture of the natural world, from grand vistas to tiny details, punctuated by surprise encounters with wildlife. For nature and animal lovers alike, this book offers a dynamic and unforgettable journey celebrating the interconnectedness of life and form. Winner of the International Photography Awards for Nature BookWonders: Exploring Nature's Art explores the natural design woven into the fabric of our planet. See the beauty of unexpected structures and delicate rhythms echoed across animal markings, grand landscapes, geological formations, and botanical design; all in breathtaking detail. The photographs in this book were made across a wide arc of the natural world: from the volcanic coasts of Iceland to the wilds of Kenya, the icy fjords of Antarctica to the rainforests of British Columbia. They follow the silent geometry of hippo trails in Botswana, the intricate symmetry of ice caves in Svalbard, and the mysterious worlds found in cold underwater environments. Many of the images were also created close to Jon’s home, along the coastlines, forests, and deserts of California; a testament to the universality of pattern wherever nature is allowed to thrive. Throughout, encounter wildlife interwoven within these complex environments, creating fleeting patterns of movement both beautiful and vital. Each turn of the page reveals a new perspective on the symmetries that shape both the grand and the small: tree rings under a microscope juxtaposed with elephant migration trails seen from above; the delicate architecture that structures both mineral formations and the feathers of ancient birds.These quiet, often-overlooked subtleties are more relevant than ever as our planet; this remarkable and irreplaceable home, brimming with beauty; is also marked by a profound fragility. A lyrical introduction encourages readers to contemplate the natural wonders that surround us, while short essays by explorers and scientists throughout the book illuminate the images.This book serves as a testament to the enduring power of nature and the interconnectedness of all things; a reminder that whether vast or minute, still or in motion, the natural world is a masterpiece of pattern and life.

Toiletpaper is an artists’ magazine created and produced by Maurizio Cattelan and Pierpaolo Ferrari, born out of a passion or obsession they both cultivate: images. The magazine contains no text; each picture springs from an idea, often simple, and through a complex orchestration of people it becomes the materialization of the artists’ mental outbursts. Since the first issue, in June 2010, Toiletpaper has created a world that displays ambiguous narratives and a troubling imagination. It combines the vernacular of commercial photography with twisted narrative tableaux and surrealistic imagery. The result is a publication that is itself a work of art, which, through its accessible form as a magazine, and through its wide distribution, challenges the limits of the contemporary art economy.

Photographer Joel Meyerowitz (born 1938) began photographing redheads in 1978 against the contrasting blue backdrop of Cape Cod. The portraits from this period are collected in this new edition of Meyerowitz's 1991 photobook Redheads, featuring 16 additional images. After running an ad in the Provincetown Advocate, Meyerowitz began collecting the experiences of people who grew up with red hair, in addition to photographing them. Making up only two or three percent of the world’s population, their stories of schoolyard bullying and self-acceptance illustrate a broader narrative of growth and beauty.Despite cultural and racial distinctions between redheads, the phenotypic association between the subjects brings a sense of familiality to the collection of portraits.Meyerowitz describes how red hair and its reaction to light evokes a sense of the color film process. He is known for his transition to color film during a period of resistance to color photography. “My way of making portraits is not by getting down on my hands and knees, nor climbing high on a ladder, nor getting into bed with a celebrity,” Meyerowitz writes, “but simply standing eye to eye with anyone who has found their way to me, young or old. I need only one or two sheets of film and the patience to see it through.” This hardcover edition includes previously unseen portraits.

Death in the Making will be a reprint of the original book published in 1938. With images by Robert Capa and Gerda Taro, it was a poignant tribute to the men and women, civilians and soldiers alike, who were fighting in Spain against Franco’s oppressive and fascist insurrection. The book included only one year of images, but covered the spectrum of emotions of a civil war, from the initial excitement to the more harrowing realities of modern warfare. After World War II and the rising fear of Communism in the United States made association with the Spanish Civil War a liability, the book was forgotten. Today Death in the Making is newly appreciated for its call to arms against rising fascist threat. This new publication will replicate the original layout by photographer André Kertész, the original caption text by Capa and preface by writer Jay Allen, but will also dramatically improve the image quality of the first edition. The new edition will also include an essay with new information about the making and the reception of the original book and a complete checklist identifying the author, location and date of each image. One of the most significant revelations is that Death in the Making contained unattributed photographs by Chim, later known as David Seymour, friend and colleague of Capa. The book is a co-publication with the International Center of Photography.

Toiletpaper is an artists’ magazine created and produced by Maurizio Cattelan and Pierpaolo Ferrari, born out of a passion or obsession they both cultivate: images. The magazine contains no text; each picture springs from an idea, often simple, and through a complex orchestration of people it becomes the materialization of the artists’ mental outbursts. Since the first issue, in June 2010, Toiletpaper has created a world that displays ambiguous narratives and a troubling imagination. It combines the vernacular of commercial photography with twisted narrative tableaux and surrealistic imagery. The result is a publication that is itself a work of art, which, through its accessible form as a magazine, and through its wide distribution, challenges the limits of the contemporary art economy.

TOILETPAPER is a picture based magazine founded in 2010 by Maurizio Cattelan and Pierpaolo Ferrari. Each picture springs from an idea, often simple, and through a complex orchestration of people it becomes the materialisation of the duo's mental outbursts. TOILETPAPER combines the vernacular of commercial photography with twisted narrative tableaux and a troubling imagination, creating a world that displays ambiguous and surrealistic imagery. TOILETPAPER images have been reviewed by weekly and art magazines worldwide and appeared in special issues of magazines such as Vice and Hunger. TOILETPAPER was also exhibited on the High Line Billboard in Chelsea, NYC in May, 2012. In the same year images taken from the first six issues have been published in an anthology, together with selected narrative texts, that was reviewed in The New York Times' Top 10 Photo Books.

Toiletpaper is an artists’ magazine created and produced by Maurizio Cattelan and Pierpaolo Ferrari and born out of a shared passion for images. The magazine contains no text. Each picture springs from an idea, often simple, and through a complex orchestration of people it becomes the materialization of the artists’ mental outbursts. Since the first issue, in June 2010, Toiletpaper has created a world that displays ambiguous narratives and a troubling imagination. It combines the vernacular of commercial photography with twisted narrative tableaux and surrealistic imagery. The result is a publication that is itself a work of art which, through its accessible form as a magazine, and through its wide distribution, challenges the limits of the contemporary art economy.

Toiletpaper is an artists’ magazine created and produced by Maurizio Cattelan and Pierpaolo Ferrari and born out of a shared passion for images. The magazine contains no text. Each picture springs from an idea, often simple, and through a complex orchestration of people it becomes the materialization of the artists’ mental outbursts. Since the first issue, in June 2010, Toiletpaper has created a world that displays ambiguous narratives and a troubling imagination. It combines the vernacular of commercial photography with twisted narrative tableaux and surrealistic imagery. The result is a publication that is itself a work of art which, through its accessible form as a widely distributed magazine, challenges the limits of the contemporary art economy.

Inge Bondi combines her recollections with Ernst Haas' letters, poems, photos, to narrate Haas's 40 year photography career. The book is in itself a letter from Bondi to Haas. "[S]heds new light on the life of renowned Magnum photographer, Ernst Haas, while at the same time showcasing his art... It also tells the story of one of photography's great innovators, who always trod his own path." - Black+White Photography Writer Inge Bondi sheds fresh light on the life of her close friend and colleague, the Austrian American photographer Ernst Haas (1921–86), whom she first met in New York’s Magnum offices in 1951. Bondi shares unique memories of this brilliant and very private man alongside reproductions of his letters, poems, photographs, and ephemera, revealing for the first time details of his harrowing war years and complex personal life. The book’s 13 chapters cover Haas’ Homecoming Prisoners of War (1947), which prompted Robert Capa to invite him to join Magnum Photos; pioneering color reportage for Life and Vogue, featuring his blurred portraits of bullfighting and saturated images of New York; and his work on film sets, including The Bible, which led to the publication of Haas’ groundbreaking and acclaimed 1971 photobook The Creation.

This book, published to accompany the Azzedine Alaïa Foundation's current exhibition (running through June 29, 2025), explores their extraordinary friendship, creative collaborations, and lasting impact on the history of fashion. Azzedine Alaïa moved to Paris from Tunis in 1956 and quickly became the favorite couturier of the French high society like Louise de Vilmorin and many celebrities, including Greta Garbo and Claudette Colbert. In 1979, he crossed paths with Thierry Mugler, igniting a deep friendship and creative partnership that would go on to shape the fashion landscape of the 1980s. That same year, Mugler invited Alaïa to design a series of tuxedos for his autumnwinter collection, publicly acknowledging his contribution in the press kit. Mugler’s support proved crucial — he introduced Alaïa to key fashion figures and played a pivotal role in persuading him to present his first runway show in New York in 1982, even assisting with the event's organization. Together, their shared vision celebrated a powerful femininity, structured silhouettes, and Hollywood-inspired glamour, which marked a sharp contrast to the folkloric trends that had dominated the previous decade.

Not just an ambitious restoration of a fascinating unseen archive, but a book that takes on the gargantuan task of shifting the collective memory around key moments in British youth culture history, with a mesmerizing force of honesty and humanity. By the man who’s previous books Skins (1994), and Skins & Punks (2008), have been hailed as modern classics, Damiani is pleased to announce the latest Gavin Watson monograph, titled Oh the Fun We Had! Appropriating the Madness lyrics as an anthem of its times, this intimate selection of photography disrupts the notion of skinheads and council estate residents as problematic figures in an almost endearing manner while still preserving the subversive character of the cult of youth. At an undisputed time of little optimism, Oh the Fun We Had! is a very important fly-on-the-wall testimonial and reminder that no matter how difficult life is; so it shall also be Fun... At least when captured from the right angle.

'A new book is opening the curtains to the last creative residential sanctuaries left in the city.' '... captures a fading way of life' - ArtNet 'Joshua Carow's lively photo book reveals .. a generation of artists' lives on in downtown lofts...' - World of Interiors 'In his new book Loft Law, The Last of New York City’s Original Artist Lofts, Charow intimately captures spaces and faces from the dwindling fraternity of auteurs protected under the 1982 New York law of the same name.' - Highsnobiety Charow spent the past two years creating his first photography book about artists living under the protection of The Loft Law. The law, enacted in 1982, granted protection and rent control to thousands of artists who were living illegally in commercial and manufacturing zoned lofts in neighborhoods like Soho, Tribeca, and the Bowery after the manufacturing industry left New York. Two years ago he found a map of the remaining protected buildings, rang hundreds of doorbells, and photographed and interviewed over 50 artists who are still living in these incredible lofts to this day. As New York faces an unprecedented amount of empty commercial space, this is perfect timing for this incredible untold story.

The visual dialogue between two maitre couturiers featuring the best creations of Azzedine Alaia and Christian Dior It was in Tunisia, when he was still a teenager, that the young Alaïa first discovered the creations of Christian Dior through fashion magazines made available to him by Madame Pinault. In 1956, on his arrival in Paris, he undertook a brief four-day internship with the great couturier, whom he had always admired. During this time, he immersed himself in the unique atmosphere of a fashion house, observed the work of the head of the atelier, and witnessed the creation of a collection... This seminal experience would be spoken of with emotion for many years to come.The book Azzedine Alaïa and Christian Dior: Two Masters of Couture offers a dialogue between Azzedine Alaïa's models and those that the couturier patiently collected from Christian Dior. It highlights concepts of style and creation that, despite being separated by several decades, respond to, unite or confront each other, bearing witness to a shared sensibility over time.

In Dreams. Scenes from the Archive adds to our understanding of Dennis Hopper’s personal vision as an artist by tracing the threads of Hopper’s life through photography, and connecting his roles as an actor, husband, father, and photographer. In Dreams eschews Hopper’s iconic stand-alone images and instead looks to distill the archive into a connected set of photographs that offer new impressions and stories. Themes emerge, visual rhymes are made, and characters come and go while the reader is invited along for the journey. Hopper’s photographic output was especially concentrated in the ‘60s, a period in which his film career had cooled off. During these years Hopper’s primary creative outlet was his photography. The Nikon camera his wife Brooke Hayward gifted him hung so prominently around his neck that friends jokingly called him ‘the tourist.’ While In Dreams, which references Roy Orbison’s song by the same name made famous in Blue Velvet, includes appearances by famous faces, they are intimately intertwined with Hopper’s peripatetic life and his everyday use of the camera. Hopper was very much an insider — at ease with celebrities and artists of his day — but this new conversation with his archive shows that, like many photographers, Hopper was also distinctly an outsider. Famous himself, but also an observer: it’s this unique duality that allowed Hopper to view the world in his unique way.

ToiletMartin PaperParr Book limited edition is a high-impact visual volume revealing the most iconic images from the prolific archives of internationally celebrated artist Martin Parr and the duo who created Toiletpaper, Maurizio Cattelan and Pierpaolo Ferrari. Martin Parr’s ironic, full color images combine perfectly with the irreverent and poignant wit created by Maurizio Cattelan and Pierpaolo Ferrari. The 120 vibrant back-to-back images included in this compelling volume are sensually and visually appealing, as well as reflecting reality. This book of the books shakes up our minds and leads us to move our gaze in multiple directions.This limited edition comes with a special cover and includes a surprise gift...

“The real charm of Byways isn’t playing spot-the-location as Deakins dabbles between takes, but the window it opens onto his youthful eye. You can trace his drive from an early age to catch the light at its best – or wait for it – all night if necessary.” - The Telegraph“…his first monograph, Byways, looks not to his revered cinematography career, but his decades-long habit of taking still photographs. Among them are breathtaking landscapes and moments of stillness, interspersed with photographs imbued with wit thanks to the playful possibilities of scale, framing and timing. It’s the kind of dry humour that sits passers by in conversation with monuments and miscellaneous objects in the street, or captures a canine rendition of Cartier-Bresson’s seminal image Behind The Gare Saint-Lazare. – Creative Review“Candid close-ups, wide-angle landscapes, and dynamic long exposures, his monochrome photographs display a variety of approaches and techniques, yet first and foremost, testify to the remarkably perceptive artistic gaze that has seen him nominated for an Oscar on fifteen separate occasions (winning twice).Thoughtful, poetic, and profoundly arresting, they display his distinct enigmatic sensibility, and presented for the most part with little or no information or context (index aside) form a compelling visual soliloquy that conveys with great eloquence, the profound power of the still image.” The Independent Photographer“An intimate introduction to the man behind the lens” – The TimesPortraits and landscapes from the cinematographer famed for his work with Sam Mendes and the Coen brothers This is the first monograph by the legendary Oscar-winning cinematographer Sir Roger Deakins, best known for his collaborations with directors such as the Coen brothers, Sam Mendes and Denis Villeneuve. It includes previously unpublished black-and-white photographs spanning five decades, from 1971 to the present. After graduating from college Deakins spent a year photographing life in rural North Devon, in South West England, on a commission for the Beaford Arts Centre; these images are gathered here for the first time and attest to a keenly ironic English sensibility, also documenting a vanished postwar Britain. A second suite of images expresses Deakins’ love of the seaside. Traveling for his cinematic work has allowed Deakins to photograph landscapes all over the world; in this third group of images, that same irony remains evident.

Toiletpaper is an artists’ magazine created by Maurizio Cattelan and Pierpaolo Ferrari, born from a shared obsession with images and their disruptive power.Since 2010, it has functioned as a visual laboratory where simple ideas evolve into meticulously staged photographs. Published three years after issue 20, Toiletpaper Magazine 21 marks a new chapter, presenting bold, unsettling, and often humorous images where commercial aesthetics collide with surreal distortions, turning the familiar into the uncanny.

This special edition limited to 70 copies includes the book and one gelatin silver print signed and numbered by Parr. The picture is titled Glenbeigh Races, County Kerry, 1983. The print measures 20.0 x 29.0cmMartin Parr has been taking photographs in Ireland for 40 years. His work covers many of the most significant moments in Ireland’s recent history, encompassing the Pope’s visit in 1979, when a third of the country’s population attended Mass in Knock and Phoenix Park in Dublin, as well as gay weddings and start-up companies in 2019. It is difficult to think of country that has changed so dramatically in this relatively short space of time. Parr lived in the West of Ireland between 1980-82. He photographed traditional aspects of rural life such as horse fairs and dances, but also looked at the first hint of Ireland’s new wealth in the shape of the bungalows that were springing up everywhere, replacing more traditional dwellings. During subsequent trips to Ireland he explored the new estates around Dublin and the introduction of the first drive-through McDonald’s. Parr also looked at the North and documented how, after the Good Friday agreement, the Troubles became the focus of a new tourist boom. The final chapter of this book portrays a contemporary Dublin where start-up companies are thriving, the docks area is being gentrified and where icons of wealth and modernity – such as the flat white – can be everywhere. Ireland has also now voted to allow both abortion and gay weddings, developments that would have been unthinkable 40 years ago. The book includes an introduction by the acclaimed journalist Fintan O’Toole.

Alexey Titarenko created the series of collages and photomontages that became Nomenklatura of Signs from 1986-1991, under the strict Soviet rule. This new publication presents the series in its entirety for the first time. Working in secret, Titarenko conceived the project as a way to translate the visual reality of Soviet life into a language that expressed its absurdity, in a hierarchy of symbols that, together, formed a nomenclature — or, in Russian, nomenklatura, a term for the system by which government posts were filled in the Soviet Union. Drawing inspiration from the aesthetics of Kazimir Malevich, Aleksandr Rodchenko, and other artists of the early 20th century Russian avant-garde, Titarenko captures an uncanny, darkly comic world in which language is controlled and subverted much like the Newspeak of George Orwell’s novel 1984. The book includes an introduction by writer Jean-Jacques Mari and art historian Gabriel Bauret, as well as a critical interpretation of the series by art historian Ksenia Nouril. The book is designed by Kelly Doe Studio, NYC.

The setup is classic and familiar: a table draped with a white cloth, a dish of fruit, a sugar bowl. Yet instead of the meal awaiting an unseen viewer's consumption, as in a classic still life, Laura Letinsky photographs what remains on the table after the food has been eaten, leaving only crumbs, melon rinds, a cantaloupe pocked with rot and a half-finished lollipop. Letinsky explores the inextricable relationship between ripeness and decay, delicacy and clumsiness, waste and plenitude, pleasure and sustenance. The influence of Dutch-Flemish and Italian still-life paintings--whose exacting beauty documented shifting social attitudes resulting from exploration, colonization, economics and ideas about seeing as a kind of truth--can be seen here as well. In After All, Letinsky explores photography's transformative quality, changing what is typically overlooked into something splendid in its resilience. Poet Mark Strand contributes an essay to this marvelous volume.

SHOEBOX These aspiring models have flown in from all over the world to Paris, the ogre city, where the quest for beauty feeds on new faces. Soon, these uprooted girls will be transformed into sophisticated creatures of universal glamour. Stephane Coutelle, the renowned beauty photographer, will be one of the architects of this transformation. But by receiving them in the Shoebox Studio during the first days of their Parisian stay for a brief session, unencumbered by any strict production objectives, Coutelle pays tribute to their identity and their peculiarity, both perhaps even more short-lived than their youth. This first meeting aims to capture a psychology, a past, before professional reflexes can take hold, before any complicity is established. The artist acts here without pre-conceived ideas, open to everything. The situation is not the conventional one of the artist and his model. The girls' looks carry questioning, expectations, but determination as well. They know their fate will unwind behind the closed doors of shooting sessions, and that there will be little time to learn the rules of the game ...Coutelle's portraits sometimes trouble us.We could attribute this disconcertment to a kind of harshness or voyeurism on behalf of the photographer. But in reality, these images express a certain solidarity; it is not Coutelle himself who is unrelenting, but the world in which both the artist and his model evolve. Shoebox is a major project because the portraits lead us from a private, individual psychology to the contemporary human condition in which the need to be seen and recognized has become a global quest, a social phenomenon.

The Brooklyn Buzz series presents an extended visual exploration of Brooklyn and its inhabitants viewed from a bus window frame. The project was conceived as a symbolic photographic portrait of America in this specific time of history, a time of transition and constant transformation deeply affected by the global economic crisis and its consequences on society, politics and culture. Brooklyn Buzz is an original and intimate portrait that aims to capture the soul and powerful energy of Brooklyn. Riding local buses with the intention of capturing the essence of "the real thing" was a very rewarding although tough experience: local buses are crowded with children and elders, with a humanity rarely to be seen on the Manhattan centric subway trains.

In Fire and Ice: Timescapes Joan Myers gathers volcanoes photographs of iconic sites from all over the world, including Volcano National Park on the island of Hawai'i, Lanzarote, in the Canary Islands, Cotopaxi and Picincha in Ecuador, Nevada del Ruiz in Colombia, Mt. Erebus in Antarctica, Krakatoa in Indonesia and of course Mt. Etna and Pompeii. The work is breathtakingly beautiful, compelling and provocative by turns. Her essay reads like an adventure story, exploring the connection between fire and ice while describing her thrilling treks to ends of the Earth.

This book edited by Jerome Sans draws a Lipstick panorama within the world of contemporary art photography. Fully illustrated it is conceived as a magazine or a rhapsody without any beginning or end. Throughout the pages unfurls a new history of the relationship with Lipstick. A story that shows how this feminine symbol with particular flavor has pervaded our culture and its imagery. The book brings together more than 40 international artists and their work from Andy Warhol's self-portrait to intimate pictures of Araki and Nan Goldin, collapsed compositions of Maurizio Cattelan and Pier Paolo Ferrari. Sublimed, made-up, eroticized, parodied...these traces of contemporary cult accoutrement has become an iconic element of contemporary values. A sexy book to be kissed.

Fashion photographer Alexi Lubomirski was inspired to create this book, which represents diverse beauty without boundaries, after photographing the actress Lupita Nyong'o. Lubomirski was so impressed by Nyong'o's natural beauty that he felt she didn't need studio lighting because she radiated light from within. After shooting her, it struck him that he rarely had the chance to photograph beautiful women with a range of different "looks" for professional assignments. Often when he submitted a list of models he was interested in shooting, responses would be along the lines of "We love her, but ...", "Her hair is a problem ...", "She is too dark." In response, Lubomirski conceived Diverse Beauty, which celebrates many different types of female beauty through sophisticated and lively fashion photographs. Diverse Beauty embraces all beauty and aims to put every type of beauty on a pedestal, so that everyone who looks at it, no matter her race, size, colour, or sexual orientation, can identify and see herself as beautiful.