Bøker av Joseph Maida

Born Free, Born Equal - Joseph Maida and Ansel AdamsFor this anniversary edition of his collaboration with Ansel Adams’ Manzanar archive, Maida pairs his first Act, the 2018 edition of his book Born Free and Equal: The Story of Loyal _________- Americans, with his second Act, Printed Media x Printed Justice: Exhibition-in-a-Box, an adaptable, modular, DIY show of political posters from 2020, which he gifted as a call to action to institutions with a longstanding commitment to Adams’ work including New York’s Museum of Modern Art (MoMA), which originally exhibited Adams’ Manzanar series in 1944.With Born Free, Born Equal, Joseph Maida continues to illuminate the past’s relationship to the present’s social and political climate in the United States, highlighting the importance of revisiting historic art and archives with the knowledge and resources of today.

With these black-and-white photographs, Joseph Maida reflects on the history of the body in Western Art, with a particular interest in Lee Friedlander’s nudes from the 1970’s and 80’s. Maida reinterprets that work, originally shown at New York’s Museum of Modern Art (MoMA) in 1991, as a present-day homage to bodies across gender and identity spectra. To picture the nude anew, Maida draws upon visualizations of all bodies, predating the invention of photography, to connect the past to the present for a vision of the future. In the book’s introduction La Bella Figura, Maida provides a personal and cultural account to contextualize this new series with nods to an education in photography at Yale University with prominent figures including Richard Benson, Catherine Opie, and John Szarkowski. Celebrated artist and Emmy-nominated producer, Zackary Drucker, one of Maida’s earliest students, also lends her discerning voice for the book's foreword The (Un)Certainty of Seeing.Con queste fotografie in bianco e nero, Joseph Maida riflette sulla storia della rappresentazione del corpo umano nell'arte occidentale, con particolare interesse per i nudi di Lee Friedlander degli anni '70 e '80. Maida reinterpreta quel lavoro, originariamente esposto al Museum of Modern Art (MoMA) di New York nel 1991, come un omaggio dei giorni nostri al corpo umano, illustrato attraverso tutta la gamma di identità di genere. Per raffigurare il nudo in modo diverso, Maida attinge a rappresentazioni visuali di corpi umani, anche antecedenti all'invenzione della fotografia, per collegare il passato al presente e lanciare uno sguardo al futuro. Nell'introduzione del libro, La Bella Figura, Maida fornisce un resoconto personale e culturale per contestualizzare questa nuova serie di fotografie, con cenni alla sua formazione in campo fotografico, a Yale University, sotto la guida di figure di spicco tra cui Richard Benson, Catherine Opie e John Szarkowski. Zackary Drucker, famosa artista e produttrice nominata agli Emmy e anche uno dei primi studenti di Maida, presta la sua voce, perspicace come sempre, per la stesura della prefazione del libro L’(In)certezza del Vedere.