Photography Changes Everything offers a provocative rethinking of photography's impact on our culture and our daily lives. Compiling hundreds of images and responses from leading authorities on photography, it offers a brilliant, reader-friendly exploration of the many ways in which photographs package information and values, demand and hold attention, and shape our knowledge of and experience in the world. The volume draws on the extraordinary visual assets of the Smithsonian Institution's museums, science centers and archives to launch an unprecedented interdisciplinary dialogue on photography's capacity to shape and change our experience of the world. Photography Changes Everything features over 300 images and nearly 100 engaging short texts commissioned from experts, writers, inventors, public figures and others--from Hugh Hefner to John Baldessari, John Waters, Robert Adams, Sandra Phillips and many others. Each story responds to images selected by project contributors. Together they engage readers in a timely exploration of the extent to which our lives have been transformed through our interactions with photographic imagery. Edited by leading photography curator and author Marvin Heiferman, Photography Changes Everything provides a unique opportunity to better understand the history, practice and power of photography at this transitional moment in visual culture.

In this thought-provoking anthology, the International Red Cross and Red Crescent Museum has partnered with the Prix Pictet, the world's leading prize for photography and sustainability, to show a different side to humanitarian photography.

Coeditors William A. Ewing and Elisa Rusca decided to select thirty photographers from the five thousand or so artists who have been nominated since the award was founded in 2008. Adopting a broad definition of humanitarian photography, they looked for work with a visible humanitarian impulse and attributes such as care, dignity, and empathy.

The result is a diverse, stimulating and, at times, surprising visual display that is very different from the breaking news images we often associate with humanitarian action. What sets these photographs apart? An unerring sense of compassion. This compelling collection underlines the power of contemporary photography to move us and inspire positive change in the world.

A groundbreaking exhibition catalogue of Native, First Nations, Metis, and Inuit photography from the nineteenth century to the present day

Photographs of and by Native people have long been exhibited in museums. All too often, however, such exhibitions have misrepresented vital cultural and historical contexts, neglecting the depth of practice, supporting scholarship, and Native perspectives relevant to the work. By developing a broadly representative curatorial council of prominent academics and artists, more than half of whom represent Native communities in the United States and Canada, this book significantly expands the traditional discourses of photographic history.

With incisive contributions by individual curatorial council members, In Our Hands presents Native photography in three thematic sections that underscore the following: Native people are present in all facets of American life; their role is transformative in the larger society; and their view of, and connections to, the land and all living things is holistic and fundamental. The publication features 130 photographic works by Native photographers from the late nineteenth century to the present, ranging from documentary photographs to family snapshots to conceptual works. Illustrated in full color, the photographs in this book offer diverse perspectives spanning geographic, chronological, and artistic experience, and shed new light on the extraordinary contributions of Native, First Nations, Metis, and Inuit artists to the art of the Americas.

Distributed for the Minneapolis Institute of Art

Exhibition Schedule:

Minneapolis Institute of Art
(October 22, 2023-January 14, 2024)

An expansive look at the significant role of Hungarian immigrants in shaping American photographic culture and practice in the twentieth century

This beautifully illustrated book explores the cultural conditions for photography in Hungary in the first half of the twentieth century and the exodus of groundbreaking Hungarian artists, many of whom journeyed to Berlin, Paris, or London before settling in the United States. The story of the bounty of intellectual and artistic talent that departed Hungary during this period is told in depth, from the photojournalistic legacy of the Capa brothers and Martin Munkácsi to the deeply experimental work made in the United States by artists such as László Moholy-Nagy and György Kepes to the portraits of cinema icons by André de Dienes, including Marilyn Monroe, which helped fuel Hollywood's Golden Age. The book also introduces the major but underrecognized talent of artists, including John Albok, Anna Barna, Ferenc Berko, Michael Simon, and Paula Wright.

The publication's essays explore the complex legacy of more than thirty Hungarian-born photographers and reflect on their journeys to the US in the context of Hungarian emigration for more than a hundred and fifty years. By tracing the impact of these celebrated and unheralded photographers alike, American, Hungary Born underscores the significant role of Hungarian immigrants in shaping American photographic culture and practice in the twentieth century.

Distributed for the Virginia Museum of Fine Arts

Exhibition Schedule:

Museum of Fine Arts Budapest
(April 6-August 25, 2024)

Virginia Museum of Fine Arts, Richmond
(October 5, 2024-January 26, 2025)

The George Eastman Museum, Rochester, NY
(September 26, 2025-March 1, 2026)

Contemporary artists reestablishing ecological awareness through the powerful instrument of photography

How has humanity's relationship with the land been documented by, and altered through, photography? How has the ever-increasing pace of image-making changed the environment and human ecology? These are the driving questions of Widening the Lens: Photography, Ecology, and the Contemporary Landscape, a publication inspired by a generation of contemporary artists who have endeavored to chart the past, present and potential futures of photography and the landscape.
Through a collection of essays, poetry and newly commissioned artwork, Widening the Lens aims to ignite renewed ecological awareness through visual representations of the environment that reveal underlying historical, social, geological and political processes. The publication includes an introduction by Dan Leers, curator of photography, Carnegie Museum of Art; an essay by renowned curator, writer and activist Lucy R. Lippard; a new commission from poet Saretta Morgan; and an epilogue by award-winning environmental and science journalist Michelle Nijhuis.

Lovers, collaborators, friends: the story of two inventive icons of 20th-century photography

This volume pays homage to Lee Miller (1907-77)--pioneer of Surrealist photography, war correspondent, muse and icon--and places her emphatically on a par with Man Ray (1890-1976), whose work tended to overshadow her both during her lifetime and subsequently. Through approximately 140 photographs by Miller and Man Ray, plus art works and archival imagery loaned by the Lee Miller Archives and Fondazione Marconi, Lee Miller & Man Ray: Fashion, Love, War reveals a deep but complicated relationship.
Man Ray met Miller in the spring of 1929 at a Paris bar called the Bateau Ivre. Miller was seeking photography lessons; Ray said he didn't take students and was about to depart for a vacation in Biarritz. So am I, she replied, becoming his apprentice and then lover. They soon established creative parity, and together discovered the solarization technique; solarized works by Miller were at the time frequently attributed to Man Ray. Alongside Miller's iconic war photography, Fashion, Love, War also presents portraits by Man Ray of friends and important protagonists of the time, such as Max Ernst, Pablo Picasso, Giorgio de Chirico, Jean Cocteau and Salvador Dalí, and Surrealist portraits of Miller.

How have women artists used photography as a tool of resistance? Our Selves explores the connections between photography, feminism, civil rights, Indigenous sovereignty and queer liberation

Spanning more than 100 years of photography, the works in Our Selves range from a turn-of-the-century photograph of racially segregated education in the United States, by Frances Benjamin Johnston, to a contemporary portrait celebrating Indigenous art forms, by the Chemehuevi artist Cara Romero.
As the title of this volume suggests, Our Selves affirms the creative and political agency of women artists. A critical essay by curator Roxana Marcoci asks the question What is a Feminist Picture? and reconsiders the art-historical canon through works by Claude Cahun, Tina Modotti, Carrie Mae Weems, Catherine Opie and Hulleah J. Tsinhnahjinnie, among others. Twelve focused essays by emerging scholars explore themes such as identity and gender, the relationship between educational systems and power, and the ways in which women artists have reframed our received ideas about womanhood.
Published in conjunction with a groundbreaking exhibition of photographs by women artists--drawn exclusively from MoMA's collection, thanks to a transformative gift of photographs from Helen Kornblum in 2021--this richly illustrated catalog features more than 100 color and black-and-white plates. As we continue to aspire to equity and diversity, Our Selves contributes vital insights into figures too often relegated to the margins of our cultural imagination.

Culled from the Instagrams of notable artists, writers and other creatives, Just Looking encourages readers to find small delights in the world around them

Redstone Press, the makers of the Redstone Diary, Surrealist Games, Seeing Things and many other unexpected titles, invite you to join us on a visual odyssey. Curated from the Instagram pages of writers, artists and other observers, Just Looking invites readers to pause and contemplate the extraordinary within the everyday. From city streets to country landscapes, Just Looking showcases the diverse perspectives of those who have mastered the art of observation, encouraging us to lift our gaze from the screens of our busy lives in order to appreciate the strange beauty that lies in plain sight all around us. Everyone possesses the capacity to be a keen observer, to see the world with fresh eyes and to find inspiration in the most unexpected places.
Just Looking transcends geographical boundaries and cultural differences. Here, the lens becomes a universal language, communicating stories that resonate with shared human experience and that encapsulate the breadth and depth of our daily existence. More than just a collection of photographs, this is a celebration of the simple art of looking.
Featured Instagrams include: Shirin Neshat, Eileen Myles, Hans Ulrich Obrist, Roz Chast, Peter Doig, Olivia Laing, Mel Chin, David Byrne, Simon Wallis, Keith McNally, Lee Shulman, Toby Litt, Cornelia Parker, Polly Samson, Max Porter, Thomas Adès, Olivia Sudjic, Rachel Whiteread, Kamila Shamsie.

The road trip is an enduring symbol in American culture. Ever since cars became widely available, the road stretching over the horizon has represented a sense of possibility and freedom, discovery and escape--a place to get lost and find yourself. The American road trip has appeared prominently in literature, music, and movies, but it has had an especially powerful influence on photography. As photographers have embarked on trips across the United States with the express purpose of making work, they have created some of the most important photographs in the history of the medium: from images by Walker Evans, Henri Cartier-Bresson, and Berenice Abbott to Robert Frank's seminal 1950s odyssey, The Americans. From Stephen Shore to Ryan McGinley, hundreds of other photographers have continued the tradition.
The Open Road is the first book to explore the photographic road trip as a genre. It opens with a comprehensive introduction, which traces the rise of road culture in America and considers photographers on the move across the country and across the century, from the early 1900s to present day. Each chapter explores one body of work in depth through informative texts and a portfolio of images, beginning with Robert Frank, and including such renowned work as Garry Winogrand's 1964, Joel Sternfeld's American Prospects, William Eggleston's Los Alamos, and Alec Soth's Sleeping by the Mississippi. The Open Road is a visual tour de force, presenting the story of photographers for whom the American road is muse.

The city as muse: Los Angeles in pictures, from Lee Friedlander to Ed Templeton

Los Angeles is a city of dualities--sunshine and noir, coastline beaches and urban grit, natural beauty and suburban sprawl, the obvious and the hidden. Both Sides of Sunset: Photographing Los Angeles reveals these dualities and more, in images captured by master photographers such as Bruce Davidson, Lee Friedlander, Daido Moriyama, Julius Shulman and Garry Winogrand, as well as many younger artists, among them Matthew Brandt, Katy Grannan, Alex Israel, Lise Sarfati and Ed Templeton, just to name a few. Taken together, these individual views by more than 130 artists form a collective vision of a place where myth and reality are often indistinguishable. Spinning off the highly acclaimed Looking at Los Angeles (Metropolis Books, 2005), Both Sides of Sunset presents an updated and equally unromantic vision of this beloved and scorned metropolis. In the years since the first book was published, the artistic landscape of Los Angeles has flourished and evolved. The extraordinary Getty Museum project Pacific Standard Time: Art in L.A. 1945-1980 focused global attention on the city's artistic heritage, and this interest has only continued to grow. Both Sides of Sunset showcases many of the artists featured in the original book--such as Lewis Baltz, Catherine Opie, Stephen Shore and James Welling--but also incorporates new images that portray a city that is at once unhinged and driven by irrepressible exuberance. Proceeds from the sale of the book will benefit Inner-City Arts--an oasis of learning, achievement and creativity in the heart of Los Angeles' Skid Row that brings arts education to elementary, middle and high school students.

After World War II, the American road trip began appearing prominently in literature, music, movies and photography. As Stephen Shore has written, Our country is made for long trips. Since the 1940s, the dream of the road trip, and the sense of possibility and freedom that it represents, has taken its own important place within our culture. Many photographers purposefully embarked on journeys across the U.S. in order to create work, including Robert Frank, whose seminal road trip resulted in The Americans. However, he was preceded by Edward Weston, who traveled across the country taking pictures to illustrate Walt Whitman's Leaves of Grass; Henri Cartier-Bresson, whose 1947 trip through the American South and into the West was published in the early 1950s in Harper's Bazaar; and Ed Ruscha, whose road trips between Los Angeles and Oklahoma formed the basis of Twentysix Gasoline Stations. Hundreds of photographers have continued the tradition of the photographic road trip on down to the present, from Stephen Shore to Taiyo Onorato, Nico Krebs, Alec Soth and Ryan McGinley. The Open Road considers the photographic road trip as a genre in and of itself, and presents the story of photographers for whom the American road is muse. The book features David Campany's introduction to the genre and 18 chapters presented chronologically, each exploring one American road trip in depth through a portfolio of images and informative texts. This volume highlights some of the most important bodies of work made on the road, from The Americans to the present day.

Contains images by Michele Abeles, Takaaki Akaishi, Lotta Antonsson, Walead Beshty, Lucas Blalock, Andrey Bogush, Brian Bress, Bianca Brunner, Stefan Burger, Antoine Catala, Phil Chang, Talia Chetrit, Joshua Citarella, Sara Cwynar, Bryan Dooley, Jessica Eaton, Shannon Ebner, Marten Elder, Jason Evans, Sam Falls, Brendan Fowler, Victoria Fu, Daniel Gordon, Darren Harvey-Regan, Leslie Hewitt, Nancy de Holl, John Houck, Go Itami, Rachel de Joode, Farrah Karapetian, Matt Keegan, Annette Kelm, Soo Kim, Yuki Kimura, Josh Kline, Lucas Knipscher, Owen Kydd, Josh Kolbo, Taisuke Koyama, Nico Krebs and Taiyo Onorato, Elad Lassry, Brandon Lattu, John Lehr, Anthony Lepore, Alexandra Leykauf, Matt Lipps, Florian Maier-Aichen, Phillip Maisel, Annie MacDonell, Emmeline de Mooij, Carter Mull, Nerhol (Ryuta Iida and Yoshihisa Tanaka), Katja Novitskova, Arthur Ou, Matthew Porter, Timur Si-Qin, Eileen Quinlan, Jon Rafman, Sean Raspet, Clunie Reid, Abigail Reynolds, Will Rogan, Asha Schechter, Hugh Scott-Douglas, Shirana Shahbazi, Daniel Shea, Erin Shirreff, Elisa Sighicelli, Brea Souders, Kate Steciw, Batia Suter, Yosuke Takeda, Miguel Angel Tornero, Sara VanDerBeek, Artie Vierkant, Anne deVries, Hannah Whitaker, Charlie White, Lindsey White, Chris Wiley, Letha Wilson, and Amir

In a world of selfies and body shaming, Photoshopping and gender fluidity, body image has never been more at the forefront of popular cultural dialogue. Body is a definitive, democratic statement at a time when our fixation with images of the human form is greater than ever before.

Curator and art historian Nathalie Herschdorfer brings together over three hundred and fifty images created predominantly in the twenty-first century that explore our relationship with the body. This watershed publication presents work from major names in art photography, including Bettina Rheims, Lauren Greenfield, Cindy Sherman, Viviane Sassen, and Sally Mann, alongside others whose fashion work has shaped our view of the human form, such as Solve Sundsbo and Daniel Sannwald. Interwoven with these major works are images that explore the numerous other ways in which we have represented the body, and the ways in which imaging of the body has been used, shared, and changed over the last quarter-century.

Capturing the complex and often paradoxical relationship we have with our bodies--from fantasy to reality and curiosity to obsession--Body is a timely homage to, and introspection of, the human form as it sits in our current culture.

How photographers from Nan Goldin to Leigh Ledare have portrayed intimacy and eros between themselves and their subjects

A New York Times Book Review 2023 holiday gift guide pick

Love Songs brings together series dating from 1952 to 2022 by established and emerging contemporary photographers that explore love, desire and intimacy in all their complex and contradictory ways. Among the major series reproduced here are Nan Goldin's seminal 1986 photobook The Ballad of Sexual Dependency; Nobuyoshi Araki's Sentimental Journey (1969) and Winter Journey (1989-90), which present the beginning and end of the relationship with his wife Yoko, from their honeymoon to her death; RongRong&inri's tender and poetical Polaroid series Personal Letters (2000); and Leigh Ledare's Double Bind (2010), a complex account of a love triangle between himself, his ex-wife and her new husband. These and the other series in Love Songs together make a portrait of love in all its risk, complexity, sensuality and tenderness.
Photographers include: Nobuyoshi Araki, Motoyuki Daifu, Nan Goldin, Emmet Gowin, René Groebli, Hervé Guibert, Sheree Hovsepian, Clifford Prince King, Leigh Ledare, Lin Zhipeng, Sally Mann, RongRong&inri, Collier Schorr, Hideka Tonomura and Karla Hiraldo Voleau.

Revisiting the exhibition that defined a generation of photography, through a meticulous reimagining of the original catalog

In his introduction to the exhibition catalog for New Topographics: Photographs of a Man-Altered Landscape, held in 1975 at the George Eastman House International Museum of Photography in Rochester, NY, curator William Jenkins described the black-and-white images he selected as reduced to an essentially topographic state, conveying substantial amounts of information but eschewing entirely the aspects of beauty, emotion and opinion. The exhibition brought together 10 photographers: Robert Adams, Lewis Baltz, Bernd and Hilla Becher, Joe Deal, Frank Gohlke, Nicholas Nixon, John Schott, Stephen Shore and Henry Wessel Jr.
Signaling the emergence of a new approach to landscape, the show effectively gave a name to a movement. Even today, the concept of New Topographics is used to characterize the work of artists not yet born when the exhibition was held. New Topographics has since come to be understood as marking a paradigm shift. The show occurred just as photography took its place within the contemporary art world. Arguably the last traditionally photographic style, New Topographics was also the first photoconceptual style.
In this vital reassessment of the exhibition that started it all, curator Britt Salvesen reintroduces the work of these 10 photographers and traces the legacy of their work over the last 50 years. Illustrated with selected works from the 1975 exhibition, installation views and contextual comparisons, the book also includes an illustrated checklist of the show and an extensive bibliography.

A visual and conceptual conversation between two leading US photo-artists famed for their mutual explorations of race, class and power

Dawoud Bey and Carrie Mae Weems met in New York in the late 1970s, and over the next 45 years these close friends and colleagues have each produced unique and influential bodies of work around shared interests and concerns. This publication brings together over 140 photographs and video art from the 1970s through the 2010s by two of our most notable and influential photo-based artists.
Since first meeting at the Studio Museum in Harlem five decades ago, Bey and Weems have maintained spirited and supportive mutual engagement while exploring and addressing similar themes: race, class, representation, and systems of power. Dawoud Bey & Carrie Mae Weems: In Dialogue brings their work together in five thematic groupings to shed light on their unique creative visions and trajectories, and their shared concerns and principles.
Photographer Dawoud Bey (born 1953) had his first exhibition at the Studio Museum in Harlem in 1979. Since then, his work has been presented internationally to critical and popular acclaim. Recent large-scale exhibitions of his photographs have been presented at the San Francisco Museum of Modern Art, the Whitney Museum of American Art, the Art Institute of Chicago and Tate Modern, London. Bey's writings on his own and others' work are included in Dawoud Bey: Seeing Deeply and Dawoud Bey on Photographing People and Communities. He is a professor of art and Distinguished College Artist at Columbia College Chicago.
Famed for her Kitchen Table Series, among other works, Carrie Mae Weems (born 1953) explores power, class, Black identity, womanhood, and the historical past and its resonance in the present moment. In addition to photography, Weems creates video, performance and works of public art, and organizes thematic gatherings which bring together creative thinkers across a broad array of disciplines. Her work has been exhibited across the world, at venues such as the Frist Center for the Visual Arts, the Solomon R. Guggenheim Museum, the Centro Andaluz de Arte Contemporáneo and the American Academy in Rome.

Published to accompany a highly anticipated traveling exhibition, Home Truths examines contemporary interpretations of one of the most enduring subjects in the history of picture-making: the image of the mother. Focusing on the work of 12 international photographers, it challenges the stereotypical or sentimental views of motherhood handed down by traditional depictions, and explores how photography can be used to address changing conditions of power, gender, domesticity, the maternal body and female identity. The work featured here is highly personal, often documentary in approach and with the individual at its center. The featured artists--among them Janine Antoni, Elina Brotherus, Elinor Carucci, Ana Casas Broda, Tierney Gearon, Fred H ning, Leigh Ledare, Miyako Ishiuchi, Ann Fessler, Annu Palakunnathu Matthew, Katie Murray and Hanna Putz--offer very different views of contemporary motherhood, from the devoted to the dysfunctional. The book's essays explore the historical and contemporary context of the mother figure, illustrated with dozens of comparative images from antiquity to the present day. Curator and editor Susan Bright traces the history of photographs of motherhood from the nineteenth century to the present; Simon Watney discusses the Madonna; Nick Johnstone looks at the presentation of the mother from the perspective of the father; Stephanie Chapman explores issues of motherhood and loss as expressed through photography.

Personal and candid family photographs from the private collections of today's leading contemporary photographers

This volume presents an anthology of family-related images, through highs and lows, through lust and loss, creating a survey of work which reflects our understanding of family in this moment. These photographs are derived from long-term documentary projects, archive-based explorations, mundane interactions and moments of intimacy. While the motivations of any given photographer are distinctly individual, there are some foundational ideas that persist. Some artists write of their longing to remember, to document their own peculiar and beautiful realities. Others write of their desire to share their experience in hopes of adding to larger conversations about representation or identity. Taken as a whole, Memory Orchards is complex, personal and deeply relatable.
Photographers include: Priya Kambli, Elijah Gowin, Rashod Taylor, Lissa Rivera, Gillian Laub, Edgar Cardnas, Pixie Liao, Jess Dugan, Betsy Schneider, Takako Kido, Karla Guerrero, Lydia Panas, Nadiya Nacorda, Susan Worsham.

Five Spanish photographer's visions of the political heart of North America

In the project DC.ES, five Spanish photographers--Juan Baraja, Jesús Madriñán, Paula Anta, Rosell Meseguer and Nicolás Combarro--examine Washington, DC, in a project that provides evocative gazes of a city known more for what it symbolizes than what it is.

Taking you behind the lens during a decade of significant social and political change, discover the remarkable transformation of British photography in the 1980s and its impact on art across the world

This book will trace critical developments in photographic art in the UK, made by a diverse range of photographers in and around the Thatcher era (1976-1993). Rather than presenting a comprehensive history, the book will showcase more than 70 lens-based artists, and reveal numerous small histories, known and unknown, presented by a constellation of image makers (particularly Global Majority photographers), photography journals, photographer collectives, and theorists.

The publication will also pay close attention to the intersection between photography and the British Black arts movement, and to the theoretical developments in photography and representation from the perspectives of postmodernism and cultural theory by British scholars from the period, namely John Tagg, Victor Burgin, and Stuart Hall.

Photographers include Don McCullin, Martin Parr, Ingrid Pollard, Sunil Gupta, Wolfgang Tillmans, Keith Arnatt, Vanley Burke, Sirkka-Liisa Kontinnen, Marketa Luskacova, Joy Gregory, Paul Graham, Ajamu X, and many more key figures.