The battle of Peleliu began on September 15, 1944. On a six-mile-by-two-mile coral island in the South Pacific, American and Japanese soldiers fought for 73 days under temperatures of up to 115 degrees, and when it was all over and done with, 8,768 Americans were killed or wounded and nearly 10,000 Japanese were dead. Photographer James Fee's father, Russell James Fee, then 21, was one of the marine corpsmen assigned to the battle as a medic, returning with diary and photographs in hand. Fifty-three years later, armed with these keepsakes, his son went to Peleliu to to see with his own eyes the place where his father's vision had taken shape. He himself returned with his own photos, presented here. All available copies of this volume are signed.

James Fee: The Peleliu Project

Arts & Photography

McCusker, Carol

Levinson, William

Individual Artists

Seraphin Gallery

First Photographs is an extraordinary view into the origins of photography. This landmark monograph—the only book on Talbot to be authored by the Fox Talbot museum’s curator—includes many never-before-published images of landscapes, architectural studies, and portraits from Talbot’s personal archive and selections from his detailed research notebooks made during the 1830s and 1840s and currently housed at Lacock Abbey in Chippenham, England. A gentleman and an intellectual, Talbot was a great student of the Arts and Sciences and kept detailed notes of his activities and experiments. He discovered the negative/positive paper process which made multiple reproductions of a single image possible, and which distinguished it from its contemporary, the one-of-a-kind daguerreotype. Talbot first announced his invention to the public in 1839 in his paper, “An Account Of The Art of Photogenic Drawing Or The Process By Which Natural Objects May Be Made To Delineate Themselves Without The Aid Of The Artist’s Pencil.” The work he did during this time established, in principle and in practice, the foundation of modern photography—the basis of the process that is still used today. In addition to Talbot’s technological contributions, his photographs represent exceptional artistic achievement. First Photographs includes a significant text by the preeminent Talbot scholar today, Michael Gray, who provides a comprehensive essay, biography, and timeline of Talbot’s eventful life and revolutionary work. Arthur Ollman, director of the Museum of Photographic Arts, San Diego, gives an in-depth analysis of the aesthetic and social significance of Talbot’s first image, “Oriel Window.” Curator Carol McCusker considers how the Romantic Movement and the women of the Lacock household influenced Talbot’s aesthetic choices. First Photographs and the accompanying exhibition provide a rare opportunity for contemporary audiences to experience these uncommon images and the personal, cultural, and scientific contexts in which they were made.

First Photographs: William Henry Fox Talbot and the Birth of Photography

Ollman, Arthur

GRAY, Michael

History

powerHouse Books

This volume is a collection of the work of photographer Paul Outerbridge. It covers the famous compositions of the early worksto the revolutionary nudes and still lives made using the carbro-colour process.

Paul Outerbridge: 1896-1958

Outerbridge, Paul

Dines-Cox, Elaine

Heiting, Manfred

Agha, M. F.

Photography & Video

Taschen America, LLC

Whether in his sumptuous images for advertising or his soft-hued nudes, Paul Outerbridge (1896–1958) was an alchemist of desire. Color was integral to his aesthetic allure, embracing the complex tri-color-carbro process to create a seductive surface of texture and tone. His quest was for “artificial paradises”―a perfection of form, with a surreal edge.This concise monograph introduces Outerbridge’s unique aesthetic and its commercial and artistic trajectory, from his professional peak as New York’s highest-paid commercial photographer through to his retreat to Hollywood in the 1940s after a scandal over his erotic photography. With key examples from his oeuvre, the book explores Outerbridge’s innovative style through Cubist still life images, magazine photographs, and his controversial nudes, as well as his interaction with other avant-garde photographers, such as Alfred Stieglitz, Paul Strand, and Man Ray. Along the way, we recognize Outerbridge’s particular ability to transform everyday objects into a quasi-abstract composition and his pioneering role in championing the expressionistic, as much as commercial, potential of color photographs.

Paul Outerbridge 1896-1958

History & Criticism

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