Jesus Blue announces the publication of North Shore, the first monograph by the Brazilian photographer and surfer, Vava Ribeiro. For the past three decades, Ribeiro has been travelling the world chasing the next picture and the next wave. This stand-alone book represents some of his most compelling images, centred on the place that gives the book its title: North Shore, often described as the surf capital of the world.
Throughout the early 2000’s, Ribeiro spent a great deal of time in this remote part of Hawaii, living among the legendary surfers who have made their homes near its towering and treacherous waves. The pictures he made over these years reveal the hidden, dream-like side of the surfing life, far fr om the crowds of the public surf tour. This book juxtaposes Ribeiro’s haunting images of the Hawaiian landscape and seascape with his intimate portraits of fellow surfers and friends, including world champions John-John Florence and Kelly Slater. The total effect is immersive; Ribeiro’s North Shore is a particular kind of paradise, one where the barriers between life, surf, and art are blissfully dissolved.
When we think of beds, we usually think of them as neatly made, waiting to be used. Noah Kalina wanted to undo that, to pull back the covers and sculpt a monumental shape out of the fabric where our bodies would be, and where our bodies have been, as both a still-life (of the materials of sleep) and a portrait (of someone's presence).
Bedmounds is the culmination of Kalina’s long-term project creating and capturing sculptural forms in the middle of beds around the world. The mounds appear to take on anthropomorphic qualities, highlighting the relationship between presence and absence. Bedmounds takes a common scene and adds a twist – subverting what we are expecting to see by inserting something unanticipated.
Sohrab Hura - A look at Kashmir through the prism of the arrival and departure of the three phases of winter. Mesmerised and deceived by snow at first, as it starts to melt, so does the mask of denial start to slip off my face and I, the outsider, start to come to terms with the land that I find myself in.
Ernst Haas (1921–1986) is acclaimed as one of the most celebrated and influential photographers of the 20th century and considered one of the pioneers of color photography. Haas was born in Vienna in 1921, and took up photography after the war. His early work on Austrian returning prisoners of war brought him to the attention of LIFE magazine. He declined a job offer as staff photographer in order to keep his independence. At the invitation of Robert Capa, Haas joined Magnum in 1949, developing close associations with Capa, Henri Cartier-Bresson, and Werner Bishof.
Haas moved to the United States in 1951 and soon after, began experimenting with Kodachrome color film. He went on to become the premier color photographer of the 1950s. In 1953 LIFE magazine published his groundbreaking 24-page color photo essay on New York City. This was the first time such a large color photo feature was published by LIFE. In 1962 a retrospective of his work was the first color photography exhibition held at New York’s Museum of Modern Art.
Throughout his career, Haas traveled extensively, photographing for LIFE, Vogue, and Look, to name a few of many influential publications. He authored four books during his lifetime: The Creation (1971), In America (1975), In Germany (1976), and Himalayan Pilgrimage (1978).
Ernst Haas received the Hasselblad award in 1986, the year of his death. Haas has continued to be the subject of museum exhibitions and publications such as Ernst Haas, Color Photography(1989), Ernst Haas in Black and White (1992), and Color Correction (2011). The Ernst Haas Studio, located in New York, continues to manage Haas’s legacy, aiding researchers and overseeing all projects related to his work.
With his long-term project Sin & Salvation in Baptist TownMatt Eich documented life in Baptist Town, one of Greenwood, Mississippi’s oldest African American neighborhoods, where the legacies of racism continue to impact the people economically and culturally. Sin & Salvation is the culmination of seven years of photographic work and engagement with the residents of the Baptist Town neighborhood. Consisting of both documentary portraiture and landscape, Eich narrates the long, twisted, and complicated history of Baptist Town into a contemporary context. Sin & Salvation is the second volume of Eich’s four-part photo series Invisible Yoke.
Originally from the Southside of Chicago, Dana Scruggs has been living and working in New York for the past 7 years.
In 2016 she launched SCRUGGS Magazine, a print publication dedicated to her vision of the male form. The magazine was a way for her to create editorial and creative content because none of the magazines that she approached would hire her. She wrote and photographed all of the content herself and the seminal issue became more akin to her visual diary and personal manifesto.
In the spring of 2018, after self assigning for almost six years - Dana was offered the opportunity to shoot ESPN's Body Issue, which was her first major breakthrough in the industry. Synonymously Dana then became the first Black female photographer to shoot an athlete for The Body Issue in it's 10 year history.
Dana broke down even more barriers when, in November of 2018, she became the first Black Person to photograph the cover of Rolling Stone Magazine in it's 50 year history.
Josef Schulz is a "photographer" of modern warehouses and factories - trite industrial buildings that nobody would want to consider to be of any major architectural interest. All over the world these buildings are mass-produced, built for all kinds of industrial production processes using identical plans and blueprints. Their exteriors offer no hint whatsoever of the specific purposes for which they are used, their façades vary only in terms of the materials selected - all of them pre-fabricated, such as slabs of concrete, corrugated sheet metal and other cheap building materials.
Toward the end of the session, Josef Breitenbach asked James Joyce if there were some special pose or gesture that he would wish recorded. Joyce thought for a moment, and raised his hand to his forehead. Then he let the hand pass over his eyes, covering them. When the hand cradled his nose and chin, Joyce indicated that this was the pose, and Breitenbach pressed the shutter.
From the portfolio “Ten Portraits” in Paris Review's Winter 1983 issue.