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Magnum manifesto
In this landmark photography publication and accompanying exhibition, Clâement Châeroux demonstrates how Magnum Photos owes its pre-eminence to the ability of its photographers to encompass and navigate the points between photography as art object and photography as documentary evidence. A Magnum photograph can be expressive and bear witness at the same time. Magnum Manifesto is organized into three main parts: Part 1 (1947-1968) views the Magnum archive through a humanist lens, focusing on post-war ideals of commonality and utopianism. Part 2 (1969-1989) shows a world fragmenting, with a focus on subcultures, minorities and outsiders. Part 3 (1990-present day) charts the ways in which Magnum photographers have captured - and continue to capture - a world in flux and under threat. Featuring both group and individual projects, the book includes contact sheets, notebooks, magazine spreads and other previously unseen material to accompany the photographs. Complete with extensive texts by Clâement Châeroux and photographic historian Clara Bouveresse, Magnum Manifesto is an essential purchase for anyone seeking to understand the very best in photography.
Book
60 minutes. The Magnum photos
Dan Rather interviews photographers who were in New York and captured photos of the September 11 attacks.
Streaming Video
The Magnum Photos
Dan Rather interviews photographers who were in New York and captured photos of the September 11 attacks.
Streaming Video
Magnum China
Many of Magnum's most renowned photographers - beginning with Robert Capa and Henri Cartier-Bresson on assignment in the 1930s - have been captivated by China. They've returned time and again, their fascination growing in line with China's burgeoning accessibility and international influence. 'Magnum China' - both an outstanding photobook and a fascinating social history - illustrates the agency's evolving relationship with this increasingly influential nation to give a visually rich, informed photographic account of the country, its people and the changes witnessed over the last nine decades. 0Chronologically organized to present key periods in the development of the modern state and its associated territories, 'Magnum China' presents in-depth portfolios by individual photographers, accompanied by introductory commentaries on the featured projects and group selections illustrating the diversity of Magnum's interaction with the region. Supplemented with introductory essays by Jonathan Fenby, historical timelines, lists of photographers' travels and a fold-out map of China, 'Magnum China' offers detailed and perceptive socio-political, geographical and historical context to complement the outstanding photography of some of the world's finest photographers.
Book
Visual arts: The nightmare that was the nineties Blood, guts, war, famine, fire, mutilation and death Magnum's photographs of this sorry decade leave Adrian Searle's head spinning
Our Turning World is a huge compendium of photographs, filling the two floors of the Barbican Art Gallery. Taken by around 50 photographers from the famous Magnum agency, and covering the past decade, the exhibition is a sort of celebration of Magnum's half- century. Actually, celebration isn't the right word many of these images were bought back from war zones and famines and scenes of carnage, despoliation and human degradation. This show attempts a kind of ordering into themes and subjects, but still you come out reeling. There are too many images, too many tugs on the emotions, too much variety, just too much of the world in one place at one time. It's strange. Back home with the big, fat book that accompanies the show, I find myself frantically pulling yet more books and catalogues of photographs down from the shelves and flipping back and forth through the pages. Why do I need to do this? Why, when the exhibition gives us getting on for 400 photographs, and the catalogue even more, do I want to litter the floor with more pictures, more images, more takes on the world? Maybe I should turn the TV on too, to keep the flow going. There's got to be a name for this mania for images, this urge or whatever it is, to look, to see, to lose oneself like this. I find myself wanting to compare Magnum photographer Hiroji Kubot's 1997 panoramic view of the Hong Kong stock exchange with German artist Andreas Gursky's digitalised and manipulated 1994 version of the same subject, taken, it seems, from almost the same viewpoint, and depicting the same scene. And to compare real horror, real war with Jeff Wall's entirely fabricated and ghoulish Dead Soldiers Talk (shown at the Whitechapel Art Gallery a couple of years ago). I want to compare the Magnum with the non-Magnum, so to speak, or art with hard-core photojournalism. But the lines keep blurring. This isn't so much about needing to get a grip on aspects of the world as an urge to get some kind of handle on its representations.
Newspaper Article
Magnum atlas : around the world in 365 photos from the Magnum archive
Featuring new and iconic images, this follow-up to Prestel's highly successful 'A Year in Photography: Magnum Archive' includes some of the most striking photography ever collected in one volume. As readers flip the pages they will find themselves traveling from west to east across the globe. Each country is represented in three or four images captured by a single photographer. While renowned figures such as Robert Capa, Bruce Davidson, and Martin Parr are included, readers will also find younger photographers such as Olivia Arthur, Alessandra Sanguinetti, and Mikhael Subotzky, all of whom present dazzling new views of our changing world. Shining a light on the human condition in every corner of the globe, this compilation exemplifies Magnum founder Henry Cartier- Bresson's vision of \"a community of thought, a shared human quality, a curiosity about what is going on in the world, a respect for what is going on and a desire to transcribe it visually.\"
Book
