From Publishers Weekly
This handsome and long-awaited 10 1/4" x 12 1/4" monograph is, surprisingly, the first to be devoted to the work of Swiss-born photographer, filmmaker and painter Rudy Burckhardt (1914-1999). While his name may not be known to many outside of that loose agglomeration of downtown artists, poets, dancers and filmmakers usually referred to as the New York School, many of Burckhardt’s photographs—particularly his stunning shots of New York buildings in the 1940s—have become iconic images, appearing on posters and postcards worldwide. The 300 or so photographs presented here, including New York street scenes, European cities, artists in their studios (DeKooning, Guston, Pollock and Rothko among them), still lifes and nudes, are linked by Burckhardt’s eye for the subtle, his writerly sense of indirection and a gentle mischief. Burckhardt immigrated to the U.S. in 1935 in search of adventure, quickly forming a lifelong friendship with the writer and art critic Edwin Denby, who introduced him to his many friends in the worlds of music and theater, including Paul Bowles, Virgil Thomson and Orson Welles. As Lopate points out in a warm and insightful essay, Burckhardt’s own artistic strategy was to "hide in plain sight" by quietly attaching himself to New York’s most progressive artistic circles. Indeed, it was probably the relative insularity of the then avant-garde that, combined with Burckhardt’s own lack of interest in self-promotion, has resulted in his being so unknown outside of a tiny, if luminous, circle: writing in 1980, the poet John Ashbery described Burckhardt as a "subterranean monument." Happily, this book should go a long way towards bringing his work above ground.Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

Book Description
One of the great New York street photographers, Rudolph (Rudy) Burckhardt (1914-1999) was an astonishingly versatile artist, working not only as a photographer but also as a filmmaker and a painter. Yet his work has remained largely unknown outside a small circle of enthusiasts. Now, with this comprehensive monograph, the full range and brilliance of Burckhardt's photography is revealed: not only his telling street scenes, which capture the energy and chaotic beauty of the city, and his penetrating portraits of artists in their studios, but also his views of European cities, studies of children and the female nude, and views of the natural world. With a thoughtful text by the well-known essayist and novelist Phillip Lopate, this volume dedicated to the multitalented Burckhardt, whom poet John Ashbery hailed as "a subterranean monument," will be a revelation to anyone with a serious interest in contemporary culture-and a feast for the eyes of anyone who loves great photography.

About the Author
Phillip Lopate is a highly regarded novelist, poet, and essayist. He has published several collections of his essays in book form, and his work has also appeared in journals such as the Paris Review. He lives in Brooklyn, New York. Vincent Katz, poet and art critic, was part of the photographer's circle from childhood. He contributed an essay to the catalogue for the 1998 Burckhardt retrospective in Valencia, Spain. He lives in New York City.

FROM THE PUBLISHER

"The poet John Ashbery wrote of Rudy Burckhardt in 1980: "Before there was an underground, there was Rudy Burckhardt. The genial, Swiss-born jack-of-all-trades and master of several has remained unsung for so long that he is practically a subterranean monument." Since that time Burckhardt's reputation has steadily grown - as photographer, filmmaker, and painter - beyond Manhattan's downtown community of artists in which he lived and worked. For six decades Rudy Burckhardt (1914-1999) was a discreet, but enduring, and ultimately important figure in New York's avant-garde art world." "Born in Basel, Switzerland, Burckhardt immigrated to the United States in 1935 to escape the Swiss Army and stultifying cultural and social atmosphere, to look for adventure far from home. He soon found himself sharing a loft with then companion and lifelong friend, the poet and dance critic, Edwin Denby. Willem de Kooning lived next door. (Together with Denby, Burckhardt was one of the first serious collectors of de Kooning's work.) Aaron Copland, Virgil Thompson, and Paul Bowles were good friends of his. And soon Burckhardt was embarking on a profound photographic portrait of New York City: the midday crowds in midtown Manhattan, storefronts and standpipes, Astor Place, Times Square, the Flatiron Building, the gray, water-towered regions of Chelsea, the great swath of Sixth Avenue, humble curbs, fleeting shadows, a modest studio in Brooklyn, as well as the existentialist landscapes of Astoria and Laurel Hill in Queens - with its anonymous factory buildings, empty lots, broken sidewalks, and girdered highways over cement gardens against the great veil of the Manhattan skyline. He also photographer the great painters of the New York School, from Willem de Kooning, Jackson Pollock, and Mark Rothko to Philip Guston, Larry Rivers, and Brice Marden. As well as the now classic images of New York, Burckhardt photographed London, Paris, Mediterranean cities, the segregated American South,

FROM THE CRITICS

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