Böcker utgivna av Damiani

Jacopo Benassi is one of the most prolific and talented Italian photograher. His work has the camera at its centre but he touches on languages such as performance, video, curating, and sound. Benassi has worked with some of the most legendary international musicians of the international punk and post-punk scene. During his career he has worked, among the others, for Rolling Stone, Purple Magazine, GQ, Vice, Wired, ICONPanorama, Riders, just to name a few. In his most recent show, Is It MY Body?, at the Galleria Francesca Minini in Milano, his work was exhibited alongside artworks by Roger Ballen, Vanessa Beecroft and Dan Graham.

Twenty-One Years is published on the occasion of the twenty-one year anniversary of Cheim & Read. The book features a comprehensive record of exhibitions, including installation views and seminal artworks.

Rohina Hoffman was born in India and raised in New Jersey. She received a B.S. in Neural Sciences from Brown University and an M.D. from Brown University School of Medicine. While a student at Brown she studied photography at the Rhode Island School of Design. In 1994, she moved to Los Angeles to begin her residency in neurology at UCLA Medical Center but continued her interest in photography. After a career in neurology, she devoted herself full time as a fine art photographer with the support of mentors Aline Smithson and Ken Merfeld. Her award winning work has been exhibited in museums and galleries both nationally and internationally including the Griffin Museum of Photography, Southeast Center of Photography, dnj Gallery, Tilt Gallery, Stephen F. Austin State University School of Art and the Center for Fine Art Photography. Her photography has appeared in publications such as Shots Magazine, Edge of Humanity, and Lenscratch. She lives in Los Angeles and will be having an opening of Hair Stories at Brown University¿s Warren Alpert Medical School in January 2019.

Profile is a highly personal selection of Jan's work from the early '90's to 2018. Jan's defining images cross all kinds of fashion barriers. His respect for the models he works with is evident. His models are raw, sometimes slighty unconventional beauties, quite often with very little hair and make-up. Jan's images are pure, powerful and evocative, getting to the very soul of the subject. Whether its an androgynous looking girl with a cowboy hat, a model smoking a cigarette on a beach, a movie star or a picture of his wife or children, the pictures are captivating in their simplicity with a very clear style that belongs only to him. His approach to his craft remains unchanged over decades, his style clear, avant-gard and transcendent of trends. Featured are among others Cate Blanchett, Helena Christensen, Eva Herzigova, PJ Harvey, Drew Barrymore, Kirsten Owen, Kylie Minogue, Tatjana Patitz, Jessica Chastain, Christy Turlington, Tilda Swinton, Vanessa Paradis, Gisele Bundchen, Natalia Vodianova, Courtney Love, Doutzen Kroes, Laetitia Casta, Charlotte Gainsbourg, Jennifer Connelly, Milla Jovovich, Bella Haddid and Helen Mirren.

Gavin Watson was born in London in 1965 and grew up on a council estate in High Wycombe, Buckinghamshire. He started soon taking pictures of his younger brother Neville and their group of skinhead friends in High Wycombe. The ¿Wycombe Skins¿ were part of the working-class skinhead subculture brought together by a love of ska music and fashion. Although skinhead style had become associated with the right- wing extremism of political groups like the National Front in the 1970s, Watson¿s photographs document a time and place where the subculture was racially mixed and inclusive. His images documented the early D.I.Y. party culture that sprang up around London. His photographs were published in the books Skins (1994) and Skins and Punks (2008), with director Shane Meadows citing them as an inspiration for his film This is England (2006). His Rave images were published in the book Raving ¿89 (2009). In 2011 and 2012 Watson photographed campaigns for Dr Martens and Farah. He continues to take photographs and has been a longtime collaborator with the singer Plan B.

Greece. Fifty years ago James Klosty travelled among its islands, across its mainland, and through its northern mountains. He had no idea where he was and didn't particularly care. Fifty years later Klosty rather regrets not taking notes but feels strongly that he, personally, has nothing to say about Greece that has not already been said many times. Thus there are no texts. Only the syntax of his photography. However as these images all originate from two brief months in the summer of 1966, the world depicted might amount to a lost language of its own.

A brief movement after death by Caleb Cain Marcus explores the release of energy from the body into the universe when we die. The images were taken along the coasts of New York and California and contain sky and ocean-immense bodies of space that we can lose ourselves in; becoming part of their vastness. The inspiration for the book came to the photographer from a personal experience. With the birth of his daughter, his death suddenly felt very near. His childhood questions about what happens when we die resurfaced and Marcus began to think about how to visually represent what occurs after death. The work represents the starting point of his new practice that juxtaposes digital and hand-applied mediums to create a hybrid surface, color and edge that challenges the medium of a photograph and the way in which it is seen, understood and felt. With the motion of a pendulum the grease pencil is swung by a string to make tightly grouped marks that reference the finite quantity of time in a lifespan and that move across the paper as if in a formation of light leaving the earth.

This long overdue monograph presents a panorama of portraits from the photographer William Coupon. Coupon was given wide access to artists, musicians, politicians, authors, and the world's indigenous people on assignment from major publications like Time , Rolling Stone , The New York Times , Esquire , and The Washington Post . He photographed his subjects against a mottled backdrop of hand-painted Belgian linen, often in a classically lit medium shot format, inspired by Dutch masters such as Rembrandt and Holbein. Coupon has remained true to this method, whether working in the Oval Office in Washington D. C. or a tribal hut amongst the Pygmy in the Central African Republic, or the Caraja in the Brazilian Amazon. Environmental images compliment the more formal portraits. Portraits includes iconic images of Mick Jagger, Miles Davis, Elie Wiesel, David Byrne, Presidents Nixon, Carter, Bush, Trump, George Steinbrenner, Jean Michel Basquiat, Andy Warhol, and Prince Philip among many others from Haiti, Panama, Holland, Northern Scandinavia, Australia, Malaysia, Turkey, Italy, Peru, Mexico and other places. Coupon has created a collection that documents his times but also captured his generation in all its vibrancy. In his work, he seeks to present a truly egalitarian portrait of humanity integrating common people with the wealthy, powerful, and famous.

A photographic collection following the 2016 cortege of Fidel Castro, edited by Martin Parr with text from prominent Che Guevara biographer Jon Lee Anderson.

Caleb Cain Marcus, a photographic artist living in New York City, has a practice rooted in photography that is centered around color which he explores through material and surface, and the tangible presence of space as a connector with the universe. His work juxtaposes the inkjet medium with hand applied mediums to produce color that is immersive, sensory and poetic. Through this physical intervention of the photographic paper, each print becomes unique. His work is in the permanent collections of the Metropolitan Museum of Art, Getty Museum, Museum of Fine Arts Houston, the High Museum of Art and others.

Twenty years ago Traub abandoned all pretense of trying to find specific themes and subjects in his photographic wanderings other than to make Taradiddles, embracing fully the digital image which is always questioned for its further and inherent potential for distortion. Ironically, the witty and sardonic juxtaposition of Traub's images, are only a matter of framing his discoveries - here, there and everywhere. This volume is a collection of trifles that become matters of remarkable social commentary when Traub photographs them - "For me, serendipity, coincidence and chance are more interesting than any preconceived construct of our human encounters." (Charles H. Traub) - in a hundred plus images Traub seems to have captured the common incongruities of a global society. Traub took these pictures in more than 60 cities around the world: Dubai, Shanghai, Beijing, Rome, Tunis, Buenos Aires, Budapest, Moscow, St. Petersburg, Santo Domingo, New York, just to name a few.

Mistral is a portrait of Provence seen through its legendary wind. Photographer Rachel Cobb illustrates the effects of this relentless force of nature that funnels down France's Rhône Valley, sometimes gusting to hurricane strength. The mistral is not just a weather phenomenon: it is an integral part of the fabric of Provençal life impacting its architecture, agriculture, landscape and culture. Houses have few or no windows on the northwest, windward side and the main entrance on the southern, sheltered side. Rows of trees lining fields create windbreaks to shield crops. Artists have long been drawn to the area for the clear skies that follow a mistral. Nobody who lives or spends time in the region can escape the mistral. It is everywhere yet nowhere to be seen. How do you photograph the wind? With images of a leaf caught in flight, grapevines lashed by powerful gusts ("You can taste the wine better when there's a mistral," a winemaker says), a bride tangled in her veil, and even spider webs oriented to withstand the wind. Out of thin air Cobb makes us feel the unseen. Including an introduction by Bill Buford and an excerpt from Paul Auster about his life in Provence. Cobb draws from writing by Jean Giono, Frédéric Mistral and others. The book is designed by Yolanda Cuomo Design, NYC.

Joan Liftin's third monograph, Water for Tears , is a lyrical memoir. The book is about family and trips, about running away and coming back, short texts and photographs about pleasure in the newness of everyday life. There are layered images from everywhere, like the blind woman feeling her way by a timeworn splattered wall in Mexico or the teenage boys posing with a head of Reagan in the Soviet Union in 1988, while the darkest ones are from the American South's brutality during the struggle of the Civil Rights Movement. Her observations are mysterious, sensuous and often very funny. At the heart of the book is a tender farewell to her life with Charlie, Magnum photographer Charles Harbutt. There are no captions or dates, except in the back of the book, but you know where you are - you are with Joan.

Over the last two summers, Pigozzi has have been taking photographs of his young and very playful dogs. In 2016, he received from Hungary two Vizsla, that he called Charles and Saatchi, and he was immediately amazed by how crazy their playing was, so he started taking pictures of them that can sometimes look violent, but he can assure you this is all play. In 2017, another puppy arrived, who is also called Saatchi. She is a Rhodesian Ridgeback and she too played with Charles and Saatchi. He mainly took the pictures in black and white as it made them more intense and a bit more dramatic. This book, Charles and Saatchi. The Dogs , contains some of the best pictures Jean Pigozzi took of his dogs.

Photographs conceived by the grouping of Martin Parr, Maurizio Cattelan and Pierpaolo Ferrari and featured in the "ToiletMartin PaperParr" magazine are featured across this quirky calendar.

Reviving 19th-century photographic processes, Spanish photographer Jacqueline Roberts (born 1969) traces the moment of limbo that marks the transition from childhood to adolescence. Nebula is a collection of portraits that capture the mist of psychological and emotional change in youth; a glimpse into their nascent sense of self.