New Releases by Lincoln Kirstein

Walker Evans, plus que n''importe quel autre artiste, a inventé les images d''une Amérique essentielle que nous acceptons depuis longtemps comme une réalité. American Photographs, publié pour la première fois en 1935 par le Museum of Modern Art de New York, est l''expression la plus pure et la plus complète de la vision neutre et impassible de ce grand photographe. Les quatre-vingt-sept photographies reproduites dans ces pages sont aujourd''hui aussi essentielles et pertinentes que jamais, et l''essai de Lincoln Kirstein en est l''éloquent contrepoint. American Photographs a été une référence fondamentale pour les photographes et pour quiconque cherchait à comprendre le potentiel lyrique de ce médium, mais toutes les éditions de l''ouvrage ont été rapidement épuisées. L''édition du 75e anniversaire, avec ses somptueuses planches en bichromie associées à la sobriété élégante de la typographie et de la mise en page d''origine, fait revivre ce livre phare d''Evans. Pour la première fois, les technologies numériques ont permis de reproduire au plus près les cadrages et le délicat équilibre des planches de 1938 et de recréer ainsi l''impression visuelle et tactile de la première édition.

"More than any other artist, Walker Evans invented the images of an essential America that we have long accepted as fact, American Photographs, first published by The Museum of Modern Art in 1938, is the purest and most complete expression of his cool, unblinking vision. the eighty-seven photographs reproduced on its pages are as relevant and essential as ever, with Lincoln Kirstein''s essay as their eloquent foil. American Photographs has been a key touch-stone for photographers and those who seek to understand the lyric potential of the medium, but it has often been out of print. This Seventy-Fifth-Anniversary Edition, with sumptuous duotone plates complementing the elegant restraint of the original typography and design, makes Evans''s landmark book available again. For the first time, digital technologies aid in emulating the precise cropping and finely tuned balance of the 1938 reproductions, capturing as never before the look and feel of the first edition."--cover jacket.

Walker Evans'' American Photographs is widely deemed the most important photobook ever published. Originally conceived to be a catalogue to accompany his one-man show at The Museum of Modern Art in 1938 (the first solo show MoMA had given to a photographer), it quickly became a document so definitive of its era that curator John Szarkowski wrote that "it was difficult to know now whether Walker Evans recorded the America of his youth, or invented it." The book opens with images that cite photography, immediately establishing a tension between medium and message, although it is certainly for the message that Evans has become famous: American Photographs points over and over again to the unhappy lot of the poor and the dispossessed in 1930s America. Lincoln Kirstein''s accompanying essay (famous in its own right) declares: "What poet has said as much? Only newspapers, the writers of popular music, the technicians of advertising and radio have, in their blind energy accidentally, fortuitously, evoked for future historians such a powerful monument to our moment. And Evans'' work has, in addition, intention, logic, continuity, climax, sense and perfection." American Photographs continues to go out of print for long stretches of time, and the first edition of Errata''s 2009 spread-by-spread reprint followed suit. This revised edition of that volume presents the original 1938 edition with its 87 legendary black-and-white photographs (reproduced in full-page rather than quarter-page spreads), the classic Kirstein essay and a contemporary essay by Evans scholar John T. Hill. Born in St. Louis, Missouri, Walker Evans (1903-1975) took up photography in 1928. His book collaboration with James Agee, Let Us Now Praise Famous Men (1941), which portrayed the lives of three white tenant families in southern Alabama during the Depression, has become one of that era''s most defining documents. Evans joined the staff of Time magazine in 1945, and shortly after moved to Fortune, where he stayed until 1965. That year, he became a professor of photography at the Yale University School of Art. Evans died at his home in Old Lyme, Connecticut, in 1975. The 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.

Collects programme notes and short essays originally written by Kirstein between 1934 and 1991; some are still in use in today''s programmes.

The evocative reminiscences of one of America''s great men of modern American culture focuses on Kirstein''s youth and early struggle for identity, from his childhood in Boston to his world travels, culminating in his 1933 attempts to bring Balanchine to the U.S.

A retelling of the French fairy tale in which a clever cat wins his master a fortune and the hand of a princess.

Lincoln Kirstein''swriting is a notable example of a wide historical awareness that was fired by passion and guided by taste. He established his interests in art and literature as an undergraduate at Harvard during the late 1920s.There he started the famous quarterly Hound & Horn, a magazine that published the work of such writers as James Joyce and Gertrude Stein, and also cofounded the Harvard Society for Contemporary Art, which exhibited the work of cutting-edge artists. Best known for his pioneering efforts to cultivate ballet in the United States, he actively pursued a professional partnership with legendary choreographer George Balanchine, with whom he founded both the School of American Ballet and the New York City Ballet. This collection, in paperback for the first time, showcases Kirstein''s knowledge of dance, painting, photography, theatre, politics, and literature and combines many of his best-known and most authoritative statements with less familiar but equally brilliant polemics and appreciations. Along with autobiographical essays and poetry, his commentary covers such diverse personalities as composer Igor Stravinsky, photographer Walker Evans, author Ernest Hemingway, actress Marilyn Monroe, and Robert Gould Shaw, leader of the courageous black Civil War regiment. The book also contains photographs from Kirstein''s private collection--portraits of himself and other famous artists of the time, such as Diaghilev, Cocteau, and Eisenstein, among others.

Traces the development of dance''s basic components, choreography, gesture, music, costume, and scenery, and discusses the backgrounds of the most important ballets

Reminiscences of a visit with his a friend and mentor, Payson Walker Loomis, to Prieuré des Basses Loges in the 1920''s where he met the philosopher Gurdjieff. Gurdjieff had established his Institute for the Harmonious Development of Man at the priory in 1922.

Lincoln Kirstein is well known as the foundu00ading director of the New York City Ballet, for his writings on dance, photography, paintu00ading, and sculpture. Known to few readers, however, is this early (1932)work, his only published novel, autobiographical in conu00adtent but historical in scope and purpose. In a revealing Afterword, Mr. Kirstein reu00adcalls his family background and education as well as the circumstances surrounding the writing of his novel. Family wealth and the "permissive generosity" of his parents gave him familiarity with "a fraction of literary London, the main European museums, plus Northern Italy, Spain, and North Africa" by the time he had completed his college education. He thus possessed a unique view, which inspired him "to write an ''historical'' novel which would utilize what I knew and felt about my own times in as pictorial a fashion as I might muster." Flesh is Heir is the story of a boy who serves as the type of the first generation arisu00ading in the United States after World War I. At boarding school he experiences mortal fear of a crazy classmate: in a glass works he sees the ironical cruelties of manual labor; in London and Paris he encounters the decau00addence of one pattern of life, and in Venice, the death of another. He returns from abroad to find the triumph of a violent new force, and with that force he is absorbed.

Rijk geïllustreerde uitgave over de geschiedenis van het New Yorkse balletgezelschap van 1912 tot en met 1973