Eadweard Muybridge, one of the great pioneer-innovators of the 19th century, is a familiar figure to students of art history, photography, and cinema. Muybridge is best known for the photographs of horses and other animals in motion, which he made in the 1870s and 80s. The first person to use photography to freeze rapid action for analysis and study, he devised a method for photographing episodes of behavior using a series of cameras, producing some of the most famous sequential photographs ever made. These pictures, the first successful photographs of rapidly moving subjects, revolutionized expectations of what photography could reveal about the natural world. Time Stands Still is the catalogue to accompany a major exhibition celebrating the work of Eadweard Muybridge, one of the most influential photographers of the 19th century. The exhibition, opening Spring 2003 and touring through 2004, will combine an examination of the artists' career in motion photograph with a survey of early attempts to photograph moving subjects. The catalogue is primarily written by guest curator Phillip Prodger, but includes an additional essay on the earliest experiments in cinema by Tom Gunning, an expert on early film at the University of Chicago. The exhibition will display Muybridge's zoopraxiscope and other equipment, drawings, ephemera, and photographs made from the invention of photography in the 1830s to the end of Muybridge's career, which culminated with the publication of his encyclopedic work, Animal Locomotion, in 1887. The photographs and objects are drawn largely from the collection of the Cantor Center and supplemented with a selection of stop-action photographs from other private and public collections. Represented will be the work of, among others, Talbot, Rejlander, Maray, Eakins, Edison, and the Lumiere Frères.

Time Stands Still: Muybridge and the Instantaneous Photography Movement

Arts & Photography

Prodger, Phillip

Photography & Video

Oxford University Press

Darwin's Camera tells the extraordinary story of how Charles Darwin changed the way pictures are seen and made. In his illustrated masterpiece, Expression of the Emotions in Man and Animals (1871), Darwin introduced the idea of using photographs to illustrate a scientific theory--his was the first photographically illustrated science book ever published. Using photographs to depict fleeting expressions of emotion--laughter, crying, anger, and so on--as they flit across a person's face, he managed to produce dramatic images at a time when photography was famously slow and awkward. The book describes how Darwin struggled to get the pictures he needed, scouring the galleries, bookshops, and photographic studios of London, looking for pictures to satisfy his demand for expressive imagery. He finally settled on one the giants of photographic history, the eccentric art photographer Oscar Rejlander, to make his pictures. It was a peculiar choice. Darwin was known for his meticulous science, while Rejlander was notorious for altering and manipulating photographs. Their remarkable collaboration is one of the astonishing revelations in Darwin's Camera. Darwin never studied art formally, but he was always interested in art and often drew on art knowledge as his work unfolded. He mingled with the artists on the voyage of HMS Beagle, he visited art museums to examine figures and animals in paintings, associated with artists, and read art history books. He befriended the celebrated animal painters Joseph Wolf and Briton Riviere, and accepted the Pre-Raphaelite sculptor Thomas Woolner as a trusted guide. He corresponded with legendary photographers Lewis Carroll, Julia Margaret Cameron, and G.-B. Duchenne de Boulogne, as well as many lesser lights. Darwin's Camera provides the first examination ever of these relationships and their effect on Darwin's work, and how Darwin, in turn, shaped the history of art.

Darwin's Camera: Art and Photography in the Theory of Evolution

“So many people take those simple snapshots of life, but there’s something about Eggleston that no one can match.” —Sofia Coppola The eminent American photographer William Eggleston (b. 1939) was a pioneer in exploring the artistic potential of color photography. Eggleston made a name for himself with his eccentric, unexpected compositions of everyday life that were nonetheless rife with implied narrative, elevating the commonplace to art. This sumptuously illustrated book features Eggleston’s masterful portraits, including the artist's first color photograph—a study of a young clerk pushing shopping carts at a supermarket—from his Los Alamos series. There are many other familiar and beloved images as well as some previously unseen photographs from his long and productive career. Many of Eggleston’s poetic photographs portray life in his home state of Tennessee, and the people he encountered there. Eggleston frequented the 1970s Memphis club scene, where he met, befriended, and photographed musicians such as fellow Southerners Alex Chilton and Ike Turner. He also photographed celebrities including Dennis Hopper, Walter Hopps, and Eudora Welty, and became a fixture of Andy Warhol’s Factory scene, dating the Warhol protégé Viva. Over the past half century, he has created a powerful and enduring body of work featuring friends and family, musicians, artists, and strangers. In addition to the lavish reproductions of Eggleston’s portraits, this volume includes an essay and chronology, plus an interview with Eggleston and his close family members that gives new insights into his images and artistic process.

William Eggleston Portraits

Yale University Press

Once locked away in European archives, these early modernist photographs of America rival those of Steichen and Evans. Emil Otto Hoppé was born in Munich in 1878 but lived in London from 1900 until his death in 1972. He was an early and important modernist whose seminal views of the United States in the 1920s rival those of his peers: Paul Strand, Edward Steichen, Alfred Stieglitz, and Walker Evans. His work shows us an America as only an outsider could: brave, new, and grand in scale but with a hint of trouble brewing in the gaps between its multicultural and economic diversities. Much of Hoppé's work was locked away in English and German archives for the second half of the twentieth century, resulting in an eclipse of his reputation. Only recently has his work been reassembled, and now we can see his intimate and intelligent view of the world at defining moments in its history. 120 photographs

E. O. Hoppé's Amerika: Modernist Photographs from the 1920s

Individual Artists

W.W.Norton&Company

An esteemed curator’s introduction to the history and themes of photographic portraiture that masterfully combines some of the most famous portraits ever made with rarely seen treasures and curiosities. 
Photographic portraiture has always served a number of functions: from practical identification to storytelling and the intimate personal portrait. With a fresh approach, Face Time explores the many modes of portraiture―from fine art photography to fashion, and from anthropology to cinema―as well as the ways we encounter and interpret a portrait, from the news-hour mugshot to the glossy fashion photograph. 
Organized into eight thematic chapters, curator and photography historian Phillip Prodger captures more than 150 years of photographic portraiture, including nineteenth-century pioneers Hippolyte Bayard and William Henry Fox Talbot, modernist icons Lee Miller and Aleksander Rodchenko, as well as contemporary groundbreakers Newsha Tavakolian, Rineke Dijkstra, and Zanele Muholi. 
Prodger takes readers through the key questions of photography and dives into complex explorations of identity, representation, and purpose. Intelligently selected, this introduction to the history of the photographic portrait is comprehensive and groundbreaking in scope. Featuring portraits of great figures such as Queen Elizabeth II, Barack Obama, Marilyn Monroe, Audrey Hepburn, and Yuri Gagarin, Prodger aligns some of the best-known portraits ever made alongside rarely seen gems to tell the story of one of photography’s most popular engagements: us. 200 color illustrations

Face Time: A History of the Photographic Portrait

Thames&Hudson

Explore the concepts of Britishness and national identity through the rituals and habits of everyday life Published to coincide with Parr's 2019 exhibition at London's National Portrait Gallery - Only Human examines what it means to be human at a time of both change and retrospection. Martin Parr explores the photographer's most enduring subject - people - as never before. By turns witty, surprising, and ingenious, Martin Parr's photographs from the last decade reveal the eccentricities of modern life with affection and insight. Only Human features unpublished work and never-before-seen portraits of renowned personalities such as Alain de Botton, Anna Wintour, Paul Smith, Zadie Smith, and Vivienne Westwood. This book also includes new essays and commentary on Parr's photography by curator and writer Phillip Prodger and an introduction by Grayson Perry.

Only Human: Photographs by Martin Parr

Parr, Martin

Phaidon Press

Only Human: Photographs by Martin Parr (NPG edition)

A major new book on Martin Parr explores the photographer's most enduring subject - people - as never before By turns witty, surprising, and ingenious, Martin Parr's photographs reveal the eccentricities of modern life with affection and insight. This book - published to coincide both with Parr's 2019 exhibition at London's National Portrait Gallery and also the date the UK will leave the EU - examines what it means to be human at a time of both change and retrospection. Bringing together new work from the last decade, Only Human explores the concepts of Britishness and national identity through the rituals and habits of everyday life.

OnlyHuman

In the two series collected in this volume, Soldierand Many Wars, photographer Suzanne Opton (born 1954) photographs a range of American soldiers close up, with their heads resting on tabletops, and American veterans draped in cloth blankets. The subjects of the Soldier series are all young, active-duty soldiers from the Iraq and Afghanistan wars, and the photographs were presented as billboards in nine American cities from 2008 through 2010. Reviewing them for The New York Times, photography critic Vince Aletti wrote: “The posture is vulnerable and startlingly intimate, as if these young men and women were facing someone in bed or on a stretcher... Opton catches soldiers both on guard and off, looking out and inward simultaneously, and we can only imagine what they're thinking, what they've done, and what they dread.” The project received extensive press coverage and even sparked a heated debate about America's image of the military. The Many Wars series presents portraits of veterans from American wars over the past 70 years. Through interviews by the photographer, we learn how the wars have affected their lives. Both bodies of work were selected by Martin Paar for the Brighton Photo Biennial in 2010.

Suzanne Opton: Soldier, Many Wars

Jones, Ann

Decode Books

Impressionist Camera: Pictorial Photography in Europe, 1888-1918

From its earliest days, photography could not escape the pictorial traditions that had gone before it. This book, the first comprehensive study of Pictorialism in Europe, analyses the remarkable diversity of approaches taken by photographers across the continent whose practice was infused with contemporary debate about photography's relationship to art. Written by an international team of art and photography historians, Impressionist Camera examines the ways in which practitioners realized their pictorial vision, from the re-creation of Academic painting in photography to the use of soft focus to lend images an impressionistic quality. Also explored are the cross-currents with photography in America - where Pictorialism went on to flourish - including the seminal work of Alfred Stieglitz.

Merrell Publishers

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