In the South Bronx of America

Robert Mapplethorpe, Herbert Muschamp
teNeues France

Flower are one of the most common subjects for artwork, yet Mapplethorpe excels at bringing something radically new to his flower photographs. Setting them in a universe apart, their poses are classical, reduced to a series of essential forms. Their compositions are profoundly simple but mask a complex dynamic. Each one is evocative, and almost always sexually charged. When photographed by Mapplethorpe, these delicate organisms become almost muscular in their raw power. AUTHOR: Robert Mapplethorpe was born in 1946 and was raised in Long Island, New York. He received a B.F.A. from Pratt Institute in Brooklyn. By the early 1980s, he challenged the definition of photography with new techniques and formats. Mapplethorpe continued to create powerful images until his death from AIDS in 1989. 53 colour & 227 duotone photos

Robert Mapplethorpe, Arthur Coleman Danto
TeNeues

This major, long out-of-print survey, widely regarded as the definitive overview of Mapplethorpe's black-and-white photography, is once again available in a new, updated edition. It presents a comprehensive selection of Mapplethorpe's nudes, portraits, self-portraits, floral still lifes and other works, including his best known and most controversial images. Mapplethorpe's choices were both innovative and bold, and his work has continued to resonate since his early death in 1989. His cutting-edge use of homoerotic and other challenging themes has become embedded in our culture, with pervasive echoes not only in the work of other artists but in mainstream advertising as well.

Gino Oliva
Fantoni & C.

Mario Cresci
Edizioni Meta

Nancy Holt
Haunch of Venison

Gino Oliva
Fantoni & C.

David Hockney
Alfred A. Knopf

Renato Barilli, Giorgio Celli
Edizioni Gabriele Mazzotta

Questo catalogo, leggibile in entrambi i sensi, è dedicato a Franco Fontana e Andrea Micheli, in occasione della mostra milanese allo Spazio Mazzotta, dal 3 dicembre 2005 al 25 febbraio 2006. Le fotografie di Fontana sono accompagnate dal testo di Renato Barilli "Anche la fotografia rinuncia alla camera", mentre quelle di Micheli dal testo di Giorgio Celli "Animali di ogni giorno". Gli scatti di Franco Fontana del periodo 1970-2000, rappresentano un mondo apparentemente improbabile, dove il colore è essenziale perché diventa un modo di vedere "altro", dove il montaggio dei negativi dà vita a paesaggi, ricchi di contrasti. Ne "La galleria degli animali" Micheli manifesta chiaramente una certa predilezione per l'animale urbano e l'uso del bianco e nero.

Francesca Galliani
Il Torchio

Walter Bonatti
Edizione Museo Nazionale della Montagna Duca degli Abruzzi Club Alpino Italiano

Patrizia Nuvolari
s.e.