the list:
1907 Curtis, Edward ： The North American Indian
1909 Coburn, Alvin Langdon ： London
1911 Stieglitz, Alfred ： Camera Work, Number XXXVI
1917 Strand, Paul ： Camera Work, Number XLIX, Number L
1925 Moholy-Nagy, Laszlo ： Malerei Fotografie Film
1927 Germaine Krull ： Metal
1928 Blossfeldt, Karl ： Urformen der Kunst
1928 Renger-Patzsch, Albert ： Die Welt ist Schon
1929 Sander, August ： Antlitz der Zeit
1929 Steichen, Edward and Carl Sandburg ： Steichen The Photographer
1930 Adams, Ansel ： Taos Pueblo
1930 Atget, Eugene ： Atget Photographe de Paris
1930 Cahun, Claude ： Aveux non Avenus
1930 Drtikol, Frantisuek ： Zena ve Svetle
1931 Ernst, Max and Rene Crevel ： Mr. Knife Miss Fork
1931 Lerski, Helmar ： Kopfe des Alltags
1931 Moi Ver ： Paris
1931 Salomon, Erich ： Beruhmte Zeitgenossen
1933 Brassai ： Paris de Nuit
1933 Ullman, Doris and Julia Peterkin ： Roll, Jordan, Roll
1934 Man Ray ： Man Ray Photographs 1920-1934 Paris
1935 Lissitzky, El ： Industriia sotsializma
1935 Man Ray and Paul Eluard ： Facile
1936 Bellmer, Hans ： La Poupee
1935 Brandt, Bill ： The English At Home
1936 Hugnet, Georges ： La Septieme Face du De
1937 Bourke-White, Margaret and Erskine Caldwell ： You Have Seen Their Faces
1937 Riefenstahl, Leni ： Schonheit im Olympischen Kampf
1938 Evans, Walker ： American Photographs
1939 Abbott, Berenice ： Changing New York
1939 Lange, Dorothea and Paul Schuster Taylor ： An American Exodus
1941 Evans, Walker and James Agee ： Let Us Now Praise Famous Men
1945 Brodovitch, Alexey ： Ballet
1945 Kertesz, Andre ： Day of Paris
1945 Styrsky, Jindrich and Jindrich Heisler ： Na jehlach techto dni
1945 Weegee ： Naked City
1946 Morris, Wright ： The Inhabitants
1946 Tmej, Zdenek ： Abeceda
1947 Capa, Robert ： Slightly Out of Focus
1947 Weston, Edward Fifty Photographs
1949 Doisneau, Robert and Blaise Cendrars ： La Banlieu de Paris
1952 Cartier-Bresson, Henri ： The Decisive Moment
1952 Strand, Paul and Claude Roy ： La France de Profil
1955 DeCarava, Roy and Langston Hughes ： The Sweet Flypaper of Life
1956 Klein, William ： William Klein : New York
1956 Sudek, Josef ： Josef Sudek Fotografie
1956 Van der Elsken, Ed ： Een iefdesgeschiedenis in Saint Germain des Pres
1959 Avedon, Richard and Truman Capote ： Observations
1959 Frank, Robert ： The Americans
1959 Siskind, Aaron ： Photographs
1959 Van der Elsken, Ed ： Jazz
1960 Penn, Irving ： Moments Preserved
1961 Brandt, Bill ： Perspective of Nudes
1962 Sommer, Frederick ： Frederick Sommer 1939-1962 Photographs
1963 Hosoe, Eikoh and Yukio Mishima ： 薔薇刑 (Barakei) Killed by Roses
1964 Callahan, Harry ： Photographs
1965 Peter Hill Beard ： The End of the Game
1965 Gowin, Emmet ： Concerning America and Alfred Stieglitz, and Myself
1965 Kawada, Kikuji ： 地図 The Map
1965 Helen Levitt ： A Way of Seeing
1966 Evans, Walker ： Many Are Called
1966 Ruscha, Edward ： Every Building on the Sunset Strip
1967 Mulas, Ugo ： New York The New Art Scene
1967 Warhol, Andy ： Andy Warhol’s Index (Book)
1968 Danny Lyon ： The Bikeriders
1969 Winogrand, Garry ： The Animals
1970 Becher, Bernhard und Hilla ： Anonyme Skulpturen
1970 Davidson, Bruce ： East 100th Street
1970 Friedlander, Lee ： Self Portraits
1970 Lartigue, Jacques-Henri ： Diary of a Century
1971 Araki Nobuyoshi 荒木 経惟 ： センチメンタルな旅Sentimental Journey
1971 Clark, Larry ： Tulsa
1971 Danny Lyon ： Conversations with the Dead
1971 Samaras, Lucas ： Samaras Album
1972 Arbus, Diane ： Diane Arbus
1972 Molinier, Pierre and Peter Gorsen ： Pierre Molinier, lui-meme
1972 Moriyama, Daido : 写真よさようなら Bye, Bye Photography, Dear
1973 Lesy, Michael ： Wisconsin Death Trip
1973 Owens, Bill ： Suburbia
1974 Adams, Robert ： The New West
1974 Baltz, Lewis ： The New Industrial Parks near Irvine, California
1974 Meatyard, Ralph Eugene ： The Family Album of Lucybelle Crater
1975 Smith, W. Eugene ： Minamata
1976 Eggleston, William ： William Eggleston’s Guide
1976 Friedlander, Lee ： The American Monument
1976 Meiselas, Susan ： Carnival Strippers
1977 Mandel, Mike and Larry Sultan ： Evidence
1979 Model, Lisette ： Lisette Model
1983 Clark, Larry ： Teenage Lust
1983 Peress, Gilles ： Telex Iran
1985 Goldberg, Jim ： Rich and Poor
1986 Goldin, Nan ： The Ballad of Sexual Dependency
1986 Bruce Weber ： O Rio de Janeiro
1987 Burke, Bill ： I Want To Take Picture
1987 Sternfeld, Joel ： American Prospects
1989 Fontcuberta, Joan and Pere Formiguera ： Fauna
1990 Ginsberg, Allen ： Allen Ginsberg Photographs
1991 Baumgarten, Lothar ： Carbon
1994 Boltanski, Christian ： Menschlich
1995 Prince, Richard ： Adult Comedy Action Drama
1996 David LaChapelle ： LaChapelle Land
Category: on photographers
EW:Daybook
28 January,1932
No painter or sculptor can be wholly abstract. We cannot imagine forms not already existing in nature -we know nothing else. Take the extreme abstractions of Brancusi; they are all based on natural forms. I have often been accused of imitating his work -and I most assuredly admire, and may have been ‘inspired’ by it -which really means I have the same kind of (inner) eye, otherwise Rodin or Paul Manship might have influenced me. Actually I have proved, through photography, that Nature has all the ‘abstract’ (simplified) forms, Brancusi or any other artist can imagine. With my camera I go direct to Brancusi’s source. I find ready to use, select and isolate, what he has to ‘create’.But photography is not all seeing in the sense that the eyes see. Our vision, a binocular one, is in a continuous state of flux, while the camera captures and fixes forever (unless the damn prints fade!) a single, isolated, condition of the moment. Besides, we use lenses of various focal lengths to purposely exaggerate actual seeing, and we often ‘overcorrect’ colour for the same reason. In printing we carry on our wilful distortion of fact by using contrasty papers which give results quite different from the scene or object as it was in nature.
This, we must agree, is all legitimate procedure: but it is not ‘seeing’ literally, it is done with a reason, with creative imagination.
I never try to limit myself by theories, I do not question right or wrong approach when I am interested or amazed -impelled to work. I do not fear logic, I dare to be irrational, or really never consider whether I am or not. This keeps me fluid, open to fresh impulse, free from formulae; and precisely because I have no formulae -the public who know my work is often surprised, the critics, who all, or most of them, have their pet formulae are disturbed. and my friends distressed.
I would say to any artist -don’t be repressed in your work -dare to experiment -Consider any urge -if in a new direction all the better -as a gift from the Gods not to be lightly denied by convention or a priori concept. Our time is becoming more and more bound by logic, absolute rationalism; this is a straitjacket I -it is the boredom and narrowness which rises directly from mediocre mass thinking.
The great scientist dares to differ from accepted ‘facts’ -think irrationally -let the artist do likewise. And photographers, even those, or especially those, taking new or different paths should never become crystallised in the theories through which they advance. Let the eyes work from inside out -do not imitate ‘photographic painting’, in a desire to be photographic !
Has this sounded like a sermon? I despise, sermons, preachers, so I hope not. Perhaps I am really talking to myself. I have done some dangerous reasoning at times, but fortunately something beyond reason steps in to save me.
— edward Weston, Daybooks”
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