Devenir invisible
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Croisant photographie et philosophie, ce livre interroge la représentation des réfugiés. À l'heure où ces derniers sont pris en étau en Europe entre une politique de « retours » et l'arrivée au pouvoir de gouvernements d'extrême droite.
Photography monographs
September 2023
Devenir invisible
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$54.00
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Croisant photographie et philosophie, ce livre interroge la représentation des réfugiés. À l'heure où ces derniers sont pris en étau en Europe entre une politique de « retours » et l'arrivée au pouvoir de gouvernements d'extrême droite.
Photography monographs
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Andreas Gursky
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En conjonction avec l'exposition Andreas Gursky au Centre Pompidou, 2002.
Andreas Gursky
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En conjonction avec l'exposition Andreas Gursky au Centre Pompidou, 2002.
books
February 2002, Paris
Photography monographs
books
$78.00
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OUT OF PRINT
Naoya Hatakeyama : underground, cimmerian darkness and stygian gloom
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OUT OF PRINT
books
May 2001, Tokyo
Photography monographs
$63.00
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Emmet Gowin has been taking aerial photographs of the landscape in the United States, Mexico, Czechoslovakia, Asia, and the Middle East for over twenty years. In his most compelling photographs, one witnesses how man’s footprint has visually scarred and continually altered the earth’s surface. This book, published in conjunction with the first major touring exhibition of(...)
Emmet Gowin : changing the earth - aerial photographs
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Emmet Gowin has been taking aerial photographs of the landscape in the United States, Mexico, Czechoslovakia, Asia, and the Middle East for over twenty years. In his most compelling photographs, one witnesses how man’s footprint has visually scarred and continually altered the earth’s surface. This book, published in conjunction with the first major touring exhibition of Gowin’s photographs in over ten years, focuses on images created after 1986. That was the year Gowin began to extend his aerial photography explorations in America by recording images of military test sites, missile silos, ammunition storage and disposal facilities, coal mining, pivot irrigation, offroad motor traffic, and more. The book also surveys his more recent works, which focus on other regions of the world, including the battlefields of Kuwait, new golf courses in Japan, and the chemo-petrol industries of the Czech Republic. Gowin’s richly toned black-and-white images have been characterized as "immorally gorgeous," since at a distance even his most disturbing images can appear to be beautiful. In this volume, Jock Reynolds provides an overview of Gowin’s aerial photography and places it in the context of his earlier work and that of such photographers as Carleton Watkins, Alfred Stieglitz, Ansel Adams, and Frederick Sommer. Philip Brookman illuminates Gowin’s recent work in the Czech Republic, while Terry Tempest Williams discusses Gowin’s images from the American West, especially his Nevada Test Site series.
Photography monographs
books
Paris - Geoffrey James
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This collection of photographs of Paris by Geoffrey James was published to coincide with an exhibition at the Canadian Cultural Centre, Paris in the autumn of 2001. / Publié à l'occasion de l'exposition au Centre culturel candadien à Paris en 2001.
Photography monographs
September 2001, Paris
Paris - Geoffrey James
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This collection of photographs of Paris by Geoffrey James was published to coincide with an exhibition at the Canadian Cultural Centre, Paris in the autumn of 2001. / Publié à l'occasion de l'exposition au Centre culturel candadien à Paris en 2001.
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September 2001, Paris
Photography monographs
books
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No Man’s Land’ is a surreal and terrifying place, a world at once horrific and hilarious. We know that human beings people these places, but they have scurried away, leaving behind nothing but furniture, machines, instruments, walls, floors, lighting – the impersonal, neutral artefacts of modern existence. An air of claustrophobia hangs over everything: there is no way in(...)
Photography monographs
October 2001, London
No man's land : the photography of Lynne Cohen
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No Man’s Land’ is a surreal and terrifying place, a world at once horrific and hilarious. We know that human beings people these places, but they have scurried away, leaving behind nothing but furniture, machines, instruments, walls, floors, lighting – the impersonal, neutral artefacts of modern existence. An air of claustrophobia hangs over everything: there is no way in and no way out of such stifling spaces, either physically or ideologically. We need a good deal of persuading that environments as extraordinary as these actually exist in the real world. But they do, and for thirty years Lynne Cohen has been searching them out and recording them. She collects fragments of the real world photographically and turns them into found installations. ‘From the first photographs I made’, she has said, ‘I felt the world couldn’t be like this. It seemed as if it was full of finished works of art.’ Her fascination with synthetic materials adds a further distancing coldness to these disturbing images. These are images that force us to ask ourselves what kind of world we have made. "No Man’s Land" includes a critique of Cohen’s work by photographic curator Ann Thomas, an interview with the photographer, and a preface by Pierre Théberge and William A. Ewing
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October 2001, London
Photography monographs
books
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Catalogue de l'exposition "Nadar" de la Galerie d'Art du Conseil général des Bouches-du-Rhône, Aix-en-Provence.
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"Temporary discomfort" documents Davos, Genoa, New York and Evian/Geneva in a transitory state of emergency lock-down during the global economic summits (2001–2003). It combines different photographical genres: landscape photography, photojournalism and police photography, though here with the camera lens turned back at the security forces. But instead of street fighting(...)
Temporary discomfort chapter I-V
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"Temporary discomfort" documents Davos, Genoa, New York and Evian/Geneva in a transitory state of emergency lock-down during the global economic summits (2001–2003). It combines different photographical genres: landscape photography, photojournalism and police photography, though here with the camera lens turned back at the security forces. But instead of street fighting and handshakes, Jules Spinatsch shows winter nights in Davos, complete with floodlighted barbedwire labyrinths. He shows Genova, a fortress empty as the Mediterranean noonday sky. We see freight containers, symbols for world trade, that are used as barricades against its foes. He invites us to scrutinize the streets in New York at night: road blocks, tents, and mobile transmission units: that seem surreally empty. He photographs the sleepy waking of the security guards. Spinatsch examines the waiting for the big event that appears as meticulously planned, down to the last detail.
Photography monographs
$83.25
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In juxtaposing the ambiguity of the photographic image against the uncertainty of historical and archaeological evidence, photographer John Stathatos has woven an intriguing Borgian labyrinth of truth and fiction in his exploration of ancient and forgotten cities. Includes an essay by Joan Fontcuberta. And a preface by Yves Abrioux.
John Stathatos ; the book of lost cities
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In juxtaposing the ambiguity of the photographic image against the uncertainty of historical and archaeological evidence, photographer John Stathatos has woven an intriguing Borgian labyrinth of truth and fiction in his exploration of ancient and forgotten cities. Includes an essay by Joan Fontcuberta. And a preface by Yves Abrioux.
Photography monographs
Andreas Züst : roundabouts
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For years, Andreas Züst, the late photographer, meteorologist, publisher, collector, and patron of the arts, took photographs of roundabouts in Europe, America, and Asia. Almost everything can manifest itself in the center of a roundabout, endowing this non-place with a meaning that we only casually glimpse while driving by: advertisements for local businesses, historical(...)
Photography monographs
January 1900, Zürich, Berlin, New York
Andreas Züst : roundabouts
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For years, Andreas Züst, the late photographer, meteorologist, publisher, collector, and patron of the arts, took photographs of roundabouts in Europe, America, and Asia. Almost everything can manifest itself in the center of a roundabout, endowing this non-place with a meaning that we only casually glimpse while driving by: advertisements for local businesses, historical allegories, artworks, craft, monuments of ruling ideologies and religions—as though man could not abide a void. These wry photographs, with their delight in the absurd, are a prime example of an anthropology of everyday and popular culture inviting the reader to reflect on cultural and social differences, vernacular culture, and man’s horror of the void. At time of his premature death, Züst was preparing the publication of this book.
Photography monographs