Books by Sandra S. Phillips
Diane Arbus Revelations
by Jeff L. Rosenheim, Doon Arbus, Diane Arbus, Sarah H. Meister, Sandra S. Phillips
To ensure the ongoing availability of Diane Arbus Revelations, Aperture is proud to release this vitally important volume on the fiftieth anniversary of the posthumous 1972 Arbus retrospective at the Museum of Modern Art and the simultaneous publication of Diane Arbus: An Aperture Monograph.
Revelations explores the origins, scope, and aspirations of Arbus's wholly original voice. Arbus’s frank treatment of her subjects and her faith in the intrinsic power of the medium have produced a body of work that is often shocking in its purity, in its steadfast celebration of things as they are. Presenting many of her lesser-known or previously unpublished photographs in the context of the iconic images reveals a subtle yet persistent view of the world.
The book reproduces two hundred full-page duotones of Diane Arbus photographs spanning her entire career. It also includes a new contribution by Sarah Meister, executive director of Aperture, alongside essays by Sandra S. Phillips, senior curator of photography, emeritus, at the San Francisco Museum of Modern Art, and a discussion of Arbus’s printing techniques by Neil Selkirk, the only person authorized to print her photographs since her death. An extensive chronology by Elisabeth Sussman, guest curator of the San Francisco Museum of Modern Art show, and Doon Arbus, the artist’s eldest daughter, is illustrated by more than three hundred additional images and composed primarily of excerpts from the artist’s letters, notebooks, and other writings, amounting to a kind of autobiography. An afterword by Doon Arbus precedes biographical entries on the photographer’s friends and colleagues, compiled by Jeff L. Rosenheim, curator in charge of the Department of Photographs at the Metropolitan Museum of Art, New York. These texts help illuminate the meaning of Diane Arbus’s controversial and astonishing vision.
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$80.00
Eudora Welty as Photographer
by Eudora Welty, Pearl Amelia McHaney, Sandra S. Phillips
These forty-three photographs, taken in the 1930s and 1940s with three different cameras, illustrate both the formal and narrative skills of framing the world as only a great short story writer could. They show Eudora Welty (1909-2001) ardently pursuing an audience and honing her technique as she worked behind the lens.
Considering light, design, texture, framing, and perspective, she experimented with composition. She tried different films, papers, and exposures, took shots from various angles and distances, cropped and enlarged photographs in her kitchen darkroom, then waited until morning to discover what had been revealed.
Paramount in Eudora Welty as Photographer are the photographs themselves. Only nine have been published previously. The accompanying essays by Welty scholar Pearl Amelia McHaney; by Chief curator of photography at San Francisco Museum of Modern Art Sandra S. Phillips; and by photographer and photography historian Deborah Willis describe Welty's developing aesthetic and her representations of the world as illustrated by the photographs. Welty took photographs of people, animals, patterns, shadows, and structures natural and man-made in Mississippi, Louisiana, New York, and North Carolina. The photographs are paired to contrast and complement, to surprise and suggest, and to please and provoke. Among the photographs in Eudora Welty as Photographer are prints exhibited in Jackson, Mississippi, in 1934; Chapel Hill, North Carolina, in 1935; and in New York City in 1936 and 1937.
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American Geography: Photographs of Land Use from 1840 to the Present
by Sandra S. Phillips, Sally Martin Katz
Drawing from the vast photography collection at the San Francisco Museum of Modern Art, American Geography charts a visual history of land use in the United States
From the earliest photographic records of human habitation to the latest aerial and digital pictures, from almost uninhabited desert and isolated mountainous territories to suburban sprawl and densely populated cities, this compilation offers an increasingly nuanced perspective on the American landscape. Divided by region, these photographs address ways in which different histories and traditions of land use have given rise to different cultural transitions: from the Midwestern prairies and agricultural traditions of the South, to the riverine systems in the Northeast, and the environmental challenges and riches of the far West. American Geography also looks at the evidence of older habitation from the adobe dwellings and ancient cultures of the Southwest to the Midwestern mounds, many of them prehistoric.
SFMOMA's last photography exhibition to consider land use, Crossing the Frontier (1996), examined only the American West. At the time, this focus offered a different way to think about landscape, and a useful way to reconsider pictures of the region. American Geography expands upon the groundwork laid by Crossing the Frontier, providing a complex, thought-provoking survey.
Photographers include: Carleton E. Watkins, Barbara Bosworth, Lee Friedlander, Stephen Shore, Debbie Fleming Caffery, Mitch Epstein, An-My Lê, William Eggleston, Alec Soth, Mishka Henner, Trevor Paglen, Victoria Sambunaris, Emmet Gowin, Robert Adams, Terry Evans, Dorothea Lange and Mark Ruwedel, among others.
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Garry Winogrand
by Sarah Greenough, Sandra S. Phillips, Leo Rubinfien, Erin O'Toole, Tod Papageorge
Widely regarded as one of the most important photographers of the 20th century, Garry Winogrand (1928–1984) did much of his best-known work in Manhattan during the 1960s, becoming an epic chronicler of that tumultuous decade. But Winogrand was also an avid traveler and roamed extensively around the United States, bringing exquisite work out of nearly every region of the country.
This landmark retrospective catalogue looks at the full sweep of Winogrand’s exceptional career. Drawing from his enormous output, which at the time of his death included thousands of rolls of undeveloped film and unpublished contact sheets, the book will serve as the most substantial compendium of Winogrand’s work to date. Lavishly illustrated with both iconic images and photographs that have never been seen before now, and featuring essays by leading scholars of American photography, Garry Winogrand presents a vivid portrait of an artist who unflinchingly captured America’s swings between optimism and upheaval in the postwar era.
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