Eakins Press,N.Y. – förlag

Shelved during the McCarthy era, Model's photographs of jazz musicians—together with a text by Langston Hughes—are finally published for the first time Street photographer Lisette Model spent more than 10 years documenting Louis Armstrong, Billie Holiday, Duke Ellington, Percy Heath, Miles Davis, Dizzy Gillespie and countless other luminaries of America's jazz scene. From the 1956 Newport Jazz Festival to nightclub shows and raucous afterparties in cramped apartments, Model's images are effusive and full of empathy, celebrating jazz at a time when the genre was under increasing political and cultural scrutiny.During the 1950s, the New York Photo League was investigated by the House Un-American Activities Committee for purported connections to the Communist Party. Model was interviewed by the FBI and eventually placed on its National Security Watchlist. This mounting political pressure led publishers and funders to rescind support of Model, and ultimately caused her to shelve the book dedicated to her jazz pictures, which was to feature an essay by Langston Hughes.Now, this clothbound book finally realizes Model's self-censored project, providing a fresh look at familiar faces who today signify the fight for freedom, equality and creative expression. Alongside Hughes' original essay, texts by author Audrey Sands and saxophonist Loren Schoenberg underscore the importance of this series and the revelatory insight it shines on jazz music, both onstage and off.Lisette Model (1901–83) was born in Vienna. She moved to Manhattan in 1938 and two years later Model hosted her first solo exhibition with the New York Photo League. Following the group's dismantlement by the FBI, Model transitioned to teaching. Her most notable pupils included Diane Arbus, Helen Gee and John Gossage.

Documenting Walker Evans's lifelong fascination with the picture postcardThe eight scrupulously tritone dry-trap printed postcards that make up A Gallery of Postcards were originally produced by Walker Evans in 1936 by contact printing sections of his 8 x 10-inch negatives onto the smaller Kodak gelatin silver postcard stock. This edition comes with an essay by Jeff L. Rosenheim, curator of The Metropolitan Museum of Art's 2000 Walker Evans exhibition, from which these postcards are drawn. "Like a poet refining an idea word by word, Evans often clarified and intensified the meanings of his pictures by trimming his prints just slightly to present the leanest possible image," Rosenheim writes. "With the postcards he took that impulse to another level. Evans was a master of the edge and one of the mediums greatest precisionists."

The Eakins Press Foundation is proud to announce the publication of Magicians & Charlatans, by the art critic Jed Perl. In this collection of 26 essays, Mr. Perl writes with great urgency about the art scene of the past decade. The poet John Ashbery has said that “For years Jed Perl has been covering the art world with tremendous empathy and unsparing accuracy. His ability to recognize the traditional forms of art behind their continual transmutation has made his an almost solitary, essential voice.” The essays range from highly controversial critiques of the painter Gerhard Richter, the art dealer Leo Castelli, and the Museum of Modern Art, to appreciations of the art of Bernini and Chardin, and the writings of Edmund Wilson and Meyer Schapiro. Magicians & Charlatans includes 29 finely printed illustrations.

Portraits of 50 pioneering figures of the Harlem RenaissanceThis elegantly designed and beautifully produced volume presents portraits of 50 extraordinary individuals who contributed to making the Harlem Renaissance one of the great cultural movements in American history. Some of the subjects are familiar—icons of music, dance, theater, literature, art, academia and sports—while others are considerably less well known, but equally important to the spirit at the heart of the movement.The photographs show the sitters not only as public personalities but also as private citizens. They ennoble without flattery, and benefit from the insight that their friendship with Van Vechten engendered. Carl Van Vechten (1880–1964) was a well-known and controversial figure during his lifetime. He was a celebrated dance critic, novelist, photographer and friend of Harlem. In his introduction to the book, Darryl Pinckney writes of Van Vechten, "He recreated himself as an artist and he became a portrait photographer of historical importance…. [The Harlem Renaissance] was a cultural movement that through his photography Van Vechten both witnessed and abetted. In remaining true to the cause, he discovered his best self." 'O, Write My Name': American Portraits, Harlem Heroes is both a cultural and photographic treasure, providing new audiences with compelling studies of these inimitable figures who so essentially shaped what we know as American culture. The book is intended to contribute to a deep and lasting appreciation of the achievements of African-Americans of this era by informing succeeding generations about their works and their personalities.

Early work from Lee Friedlander capturing a pivotal moment in the Civil Rights MovementOn May 17, 1957, through the generosity of Bayard Rustin, Lee Friedlander was given full access to photograph the participants of the Prayer Pilgrimage for Freedom in Washington, D.C. This extraordinary event, organized by Mr. Rustin, as well as A. Philip Randolph, Roy Wilkins and Dr. Martin Luther King, Jr., brought together many of the great thinkers and leaders of the period, and was a pivotal moment in the Civil Rights Movement.Friedlander's photographs depict the famous individuals at the event—Mahalia Jackson, Ruby Dee and Harry Belafonte, among many other luminaries of the African-American community—but they also pay particular attention to the 25,000 men, women and children who gathered to give voice and energy to the ideas embattled by the movement.The 58 previously unpublished photographs gathered here are among Friedlander's earliest work. Also included in this publication is the typescript of Martin Luther King, Jr.'s "Give Us the Ballot" speech and additional ephemera from the march produced in facsimile.

Stephen Shore: Elements is inspired by the Eakins Press Foundation's celebrated debut publication, Walker Evans' Message from the Interior (1966), gathering images from across Evans' career. As with that book, the photographs of Stephen Shore (born 1947) have been carefully selected to represent the poetry of his approach to the world through photographs. The 24 images (16 color and 8 black and white), from the last of his work with the 8x10 inch view camera, range in location from New York's Hudson Valley to the Yucatan, Italy, Texas, Israel and Scotland. As the book's title suggests, what connects these photographs are the elemental resonances of the earth, humanity and time.From his early days as a teenager at Andy Warhol's Factory and his 1971 exhibition at the Metropolitan Museum of Art (at the time only the second one-person show the museum had ever mounted of a photographer) to his celebrated Uncommon Places (1982), to his current pioneering use of social media platforms and print-on-demand books, Shore has not for a moment let up on his mission to challenge the norms of the photographic medium.In Stephen Shore: Elements, the Eakins Press Foundation extends its historically important embrace of work by individual artists that represents the highest standard of human achievement in our society.

The democracy of the image in the social landscapeThe saturation of our social landscape by photographs and photographers is apparent from any public point of view. Photography is arguably the most democratic of mediums, even more accessible today across culture and class than language. In some regards, this has been Lee Friedlander’s most enduring subject—the way that average citizens interact with the world by making pictures of it, as well as how those pictures and the pictures constructed for advertising or political purposes define the public space.In Lee Friedlander: The People’s Pictures we see photographs spanning six decades, most of the geographic United States and parts of Western Europe and Asia. These pictures are uniquely Friedlander photographs: as much about what’s in front of the camera as they are about the photographer’s lifelong redefining of the medium. Like his exploration of words, letters and numbers in the social landscape, these photographs of photography’s street presence seem inevitable to Friedlander’s vast visual orchestration of what our society looks like. But make no mistake, Friedlander’s photographs are not objective documents; they are intentional, authored, playful, intelligent creations made through his unprecedented collaboration with time and place.Lee Friedlander (born 1934) has published more than 50 monographs since 1969, and has exhibited extensively around the world for the past five decades, including a major retrospective at the Museum of Modern Art, New York, in 2005. Friedlander lives in New York.

Lovell’s poetical installations invoke the lost voices of African American ancestryA New York Times 'Best Art Books of 2023' pickWhitfield Lovell is internationally renowned for his installations that incorporate masterful Conté crayon likenesses of African Americans from between the Emancipation Proclamation and the Civil Rights Movement. Using vintage photography as his source, Lovell often pairs his subjects with found objects, evoking personal memories, ancestral connections and the collective American past.Whitfield Lovell: Deep River compiles stunning likenesses of anonymous African American citizens from Lovell’s celebrated Deep River installation, which pays homage to “Camp Contraband”—a Union Army site near Chattanooga, Tennessee, that served as a refuge for runaway slaves escaping the Confederate South during the Civil War. The book includes a preface by Kellie Jones and an accompanying essay by the scholar Julie L. McGee, which provides the historical context for these deeply resonant portraits highlighted in this publication. McGee writes: “Lovell’s artistry is a vessel for those ancestral spirits that remain near and communicate with those who are able to make the past tangible, accessible and acutely meaningful.”The work of New York–based artist Whitfield Lovell has been exhibited and collected worldwide. The current traveling exhibition, Whitfield Lovell: Passages, will open on June 17 at the Virginia Museum of Fine Arts, in Richmond, Virginia, and will travel to four additional venues. Major installations have been featured at the Phillips Collection in Washington, DC; the Bronx Museum of the Arts in New York; University of Wyoming in Laramie; the Columbus Museum in Georgia; and the Contemporary Art Center of Virginia, among others. His work is in museum collections including the Museum of Modern Art; the Brooklyn Museum; Whitney Museum of American Art; the Metropolitan Museum of Art; the Smithsonian American Art Museum; and the Smithsonian National Museum of African American History and Culture.

With a healthy sprinkle of plastic and tinsel, Friedlander's visions of a commercial, uniquely American Christmas evoke both irony and nostalgiaWhether or not you celebrated Christmas at some point during the last 70 years, you have no doubt encountered many of the scenes shown here in Lee Friedlander's eclectic black-and-white documentation of the holiday season across America. From city sidewalks to cookie-cutter suburbs, Friedlander captures it all: main street store window displays; plastic nativities on snow-covered lawns; inflatable snowglobes and Santa Clauses; questionable St. Nicholas–themed lingerie; oversize or underwhelming Christmas trees; and houses so covered in string lights as to demand nothing short of a miracle from the local power grid.As in all of his work, Friedlander's images of Christmas reflect his own version of the holiday. Is Christmas in America a religious celebration? A commercial precept? A misunderstanding? An indulgent blasphemy? Or all of the above? The only certain thing is that December 25 has provided an opportunity for the people's photographer to hold up a mirror to a flawed, inventive, preoccupied and wonderful society.Lee Friedlander (born 1934) has published more than 60 monographs since 1969. He was represented alongside Diane Arbus and Garry Winogrand in the 1967 New Documents exhibition at the Museum of Modern Art, now understood as a landmark event in American documentary photography, and received his own retrospective at the same museum in 2005. He has lived and worked in New York since 1956.

This catalogue raisonné of the life work of Polish sculptor Elie Nadelman (1882–1946) includes a brilliant text by Lincoln Kirstein. A masterpiece of design and printing by Martino Mardersteig and the Stamperia Valdonega, Verona, Italy.

Aware of the immortal power of words, Walker Evans (1903–75) chose to leave a last will and testament, unmistakable in its clarity, in the form of an interview. He made sure that none of his intended clarity would be lost. This he achieved by choosing a close and trusted friend to collaborate in conducting several recorded conversations and editing them into a carefully articulated credo. Much sought and widely appreciated, but previously unavailable except in books of collected essays, the interview that is the text of Walker Evans Incognito is a true, first-hand source: Evans speaking freely about his photography and his philosophy. From Evans' own words the personality of the man behind the great, famously laconic photographs emerges. Walker Evans Incognito gives this brilliant text the grand presentation it deserves.The book features eight scrupulously reproduced full-page photographs. Each photograph is accompanied by Evans' own comments on that picture. The text of the interview and the captions are printed in letterpress. Bound in buckram, with a tipped-on tritone photograph and mylar protective cover, the edition of the book is limited to a single printing of 2,500 copies.

Extraordinary images of the circus in its heyday, from the rediscovered great American photographerThis elegant new volume showcases the rediscovered work of the great American photographer Frederick W. Glasier (1866–1950), who made extraordinary photographs of the American circus during its heyday, 1890–1925. A contemporary of such recognized masters as Eugene Atget in Paris, August Sander in Cologne and Ernest J. Bellocq in New Orleans, Glasier is arguably in that class of the greatest practitioners of the medium. With 73 gloriously reproduced images from the 1,700 existing glass plate negatives from the collections of the John & Mable Ringling Museum of Art, Florida State University, informative anecdotal captions by the circus historian (and co-editor of this volume) Deborah W. Walk and a fascinating essay by Luc Sante, this book will establish Glasier in the canon of the great American photographer.

Originally published to great acclaim in 1976, The American Monument has become one of the most sought-after photography publications of the twentieth century. Long out of print, with only a rare few available on the secondary market, this second edition makes a treasure available once more to new audiences. Published in the same over-sized format as the first edition—with exquisite reproductions of 213 photographs—the album of post-bound single sheets can easily be temporarily disassembled for display.Considered by many, including Friedlander himself, to be one of his most important books, The American Monument has influenced generations of photographers. The second edition includes a new essay by eminent photography curator and Friedlander scholar, Peter Galassi, which illuminates the history and continued significance of this publication.This album by Lee Friedlander is a memorial in photographs to the American monument. The photographs were selected from several thousand negatives and more than a thousand prints the photographer made of the subject during a dozen years while traveling throughout the United States. The curator John Szarkowski stated: “I am still astonished and heartened by the deep affection of those pictures, by the photographer’s tolerant equanimity in the face of the facts, by the generosity of spirit, the freedom from pomposity and rhetoric. One might call this work an act of high artistic patriotism, an achievement that might help us reclaim that word from ideologues and expediters.”

Walker Evans in his own words: the legendary interview, back in printIn 1971, Art in America published an interview with Walker Evans conducted by Leslie George Katz, writer and publisher of the Eakins Press. The interview is charming and illuminating in its clarity and candor. Nearing the end of his life, Evans speaks freely about his influences and how he got started as a photographer (“I was damn well going to be an artist and I wasn’t going to be a businessman,” he remembers), and reflects back on his work and his thinking. The interview has become legendary, consulted by curators, scholars and students for half a century and considered a definitive source for insights into the process, philosophy and personality of one of America’s greatest photographers. In 1995, the Eakins Press Foundation republished Evans’ interview in a deluxe clothbound edition titled Walker Evans Incognito. More than 20 years later, this new edition brings the Evans interview back into print in an elegant and affordable volume for a new generation. Walker Evans scholar Anne Bertrand introduces the interview and its publication history, and contributes notes throughout the text that provide important contextual information. Walker Evans: The Interview offers an opportunity to rediscover the man behind the famous images, in his own words.Born in St. Louis, Missouri, Walker Evans (1903–75) took up photography in 1928. His book collaboration with James Agee, Let Us Now Praise Famous Men (1941), which portrayed the lives of three white tenant families in southern Alabama during the Depression, has become one of that era's most defining documents. Evans joined the staff of Time magazine in 1945, and shortly after moved to Fortune magazine, where he stayed until 1965. That year, he became a professor of photography at the Yale University School of Art. Evans died at his home in Old Lyme, Connecticut, in 1975.Leslie George Katz (1918–97) was the founder and publisher of the Eakins Press Foundation. Until his death in 1997, he wrote extensively about American art and culture, and through his sustained efforts to celebrate his heroes—Thomas Eakins, Walt Whitman, and Walker Evans—found a way to define a new sort of democratic, patriotic intellectualism.

Friedlander’s social landscape is a who’s who of postwar American photographyIn the 1960s and '70s, Lee Friedlander (born 1934) developed his signature approach to documenting the American “social landscape”: deadpan, structurally complex black-and-white photographs of seemingly anything, anybody or anyplace that passed in front of his lens. But as he was making his name as a documentary photographer capturing the look and feel of modern American life, he was also photographing his closest friends, a practice he has continued throughout his long career. A slipcased set of six paperback books, The Mind and the Hand presents the photographer’s intimate portraits of six of his best friends taken over the past five decades. The subjects, each presented in their own separate volume, comprise a veritable who's who of one of America's most fertile periods in photography: Richard Benson, William Christenberry, William Eggleston, Walker Evans, John Szarkowski and Garry Winogrand. Each volume begins with a relevant quote from its subject.

A superbly assembled survey of Friedlander’s abiding fascination with the American social landscape across six decadesThis volume presents 155 photographs spanning 60 years of the artist’s exploration of the built environment in the American social landscape. Collectively these photographs add to one of the broadest and most nuanced visual explorations of America, and, individually, they are filled with the kind of intellectual humor and observation for which Friedlander has become celebrated. Along the way, of course, Friedlander has expanded our ideas of what constitutes real estate, just as he continues to compel us to reconsider how photography reveals essential aspects of our lives over time. The mirror that Lee Friedlander holds up to us is his mirror and everything reflected in it has the common traits of his way of seeing—each picture is definitively a Friedlander picture.Real Estate is an essential collection of one of Friedlander’s lifelong subjects, and takes its place alongside other classic titles of his quest to photograph the ever-changing social landscape: The People’s Pictures (2021), Signs (2019), The American Monument (1976/2017), Letters from the People (1993) and American Musicians (2001).