Gerry Badger Livres

While the history of photography is well-established, the photobook has received less critical attention, despite being a vital medium for photographers to showcase their work and communicate their vision. This first volume, co-edited by Martin Parr and Gerry Badger, offers a comprehensive overview of the photobook's evolution, tracing its origins from the early nineteenth century to the innovative Japanese photobooks of the 1960s and 70s, including modernist and propaganda works from the 1930s and 40s. Badger's introduction emphasizes the significance of the photobook as a photographic genre, challenging the traditional view that photography's history is best represented by original prints. This study corrects the conventional narrative by presenting a selection of photographers that redefines the popular canon, revealing a complex web of influences among global photographers and movements. Organized into thematic and chronological chapters, the book includes introductory texts that provide context and highlight political and artistic influences, followed by detailed discussions of individual photobooks. Accompanying these texts are images from over 200 essential photobooks, showcasing their artistic and cultural significance. Volume One also features Badger's insightful introduction, ‘The Photobook: Between the Film and the Novel,’ alongside a preface by Parr.

Eugene Atget (1857-1927) took over 10,000 photographs of the trades, architecture and street scenes of Paris and its surroundings. Atget modestly called his images 'documents for artists'. Yet since his death, his reputation has grown into that of one of the world's pre-eminent photographers. Other artists in this series Mathew Brady, Wynn Bullock, Julia Margaret Cameron, Joan Fontcuberta, David Goldblatt, Nan Goldin, Graciela Iturbide, Andre Kertesz, Dorothea Lange, Mary Ellen Mark, Joel Meyerowitz, Boris Mikhailov, Lisette Model, Laszlo Moholy-Nagy, Eadweard Muybridge, Eugene Richards, W. Eugene Smith, Shomei Tomatsu, Joel-Peter Witkin

Exploring the multifaceted nature of photography, this book delves into the complex emotions evoked by viewing images. It highlights how the experience can be transformative yet unsettling, revealing that true pleasure often comes with darker undertones. The text examines the enriching yet potentially dangerous aspects of photography, inviting readers to reflect on the deeper implications of visual representation. Through this lens, it challenges the notion of pure pleasure, emphasizing the intricate relationship between joy and discomfort in the art of photography.

Published to huge critical acclaim to support the major BBC television series on this ever more influential art form, this landmark book explores the key events and the key images that have marked the development of photography.

Photographs of Marilyn Monroe taken by members of the collective, Magnum Photos.

Yutaka Takanashi's Toshi-e (Towards the City) is a landmark volume from one of the founders of the short-lived avant-garde Japanese magazine Provoke. The photographers associated with Provoke cultivated a grainy, blurry, black-and-white aesthetic, and Takanashi's pictures are grainy in the extreme. In contrast to his earlier, more upbeat Tokyoites series, the images here approach landscapes at skewed angles, as though shot from a speeding car, speeding perhaps "towards the city." Published in 1974 and considered the most luxurious of all of the Provoke-era publications, its brooding, pessimistic tone describes the state of contemporary life in an unnamed city, in a Japan undergoing massive economic and industrial transformations. This sixth volume in Errata's Books on Books series reproduces all 116 black-and-white photographs, along with an essay by the British photographer, writer and book historian Gerry Badger.Errata Editions' Books on Books series is an ongoing publishing project dedicated to making rare and out-of-print photography books accessible to students and photobook enthusiasts. These are not reprints or facsimiles but complete studies of the original books. Each volume in the series presents the entire content, page for page, of an original master bookwork which, up until now, has been too rare or expensive for most to experience. Through a mix of classic and contemporary titles, this series spans the breadth of photographic practice as it has appeared on the printed page and allows further study of the creation and meanings of these great works of art. Each volume in the series contains illustrations of every page in the original photobook, a new essay by an established writer on photography, production notes about the creation of the original edition and biographical and bibliographical information about each artist.

Focusing on the evolution and significance of portrait photography, this book presents extraordinary insights from a renowned photographer, curator, and critic. It explores the artistic and cultural impact of portraiture, highlighting key developments and influential figures in the field. Through a blend of personal anecdotes and critical analysis, the author sheds light on how portrait photography has shaped our understanding of identity and representation over time.

Exploring the evolution of British society and culture since World War II, this book highlights the significant role of photographers in capturing the nation's changing landscape over the past seventy years. Through a visual narrative, it examines how these images reflect social transformations and cultural shifts, offering insights into the collective memory and identity of Britain during this period.

So lange die Mauer stand, war West-Berlin städtebaulich Jahrzehnte hinter den sanierten Städten der Bundesrepublik zurück. Brachen, Brandwände und bröckelnde Fassaden prägten die Atmosphäre, besonders im Osten. Dennoch zog Berlin Künstler und Utopisten an, die die Freiräume schätzten und die Stadt zu einem außergewöhnlichen Ort machten. Nach dem Fall der Mauer 1989 hat sich viel verändert. Sanierungen, Neubauten und neue Nutzungskonzepte haben dem Mauerstreifen ein neues Gesicht gegeben. Gerry Badger, der in „einer seiner Lieblingsstädte“ fotografiert, ist überrascht von den Bildern, die er macht. Diese zeigen ein deprimierendes Grau in Grau, das sich stark von seiner idealisierten Vorstellung der Stadt unterscheidet. Badger erklärt seine Faszination für das terrain vague der urbanen Szenerie – Brachflächen und improvisierte Gärten, die viele als marode empfinden, sind für ihn magisch. Sein Gespür führt ihn in die vernachlässigten Ecken, wo er seine Bilder findet, die er nicht als vernachlässigt, sondern als schön empfindet. Diese Schönheit wird oft erst wahrgenommen, wenn sie verloren ist. Gemeinsam mit Badger hofft man, dass es nicht so weit kommt.