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This book is a comprehensive investigation into photographic works by artists from the African continent and its diaspora. Taking the politics of the “colonial gaze” as its starting point, Events of the Social looks at the diverse complexity of the nineteenth-century archive through a selection of vintage portraits, cartes de visite, postcards and album pages. Three(...)
Events of the social: portraiture and collective agency
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This book is a comprehensive investigation into photographic works by artists from the African continent and its diaspora. Taking the politics of the “colonial gaze” as its starting point, Events of the Social looks at the diverse complexity of the nineteenth-century archive through a selection of vintage portraits, cartes de visite, postcards and album pages. Three generations of African artists from the 1940s till now then chart the changing features of African societies through portraiture, exploring notions of the self, gender, sexuality, race, social status and politics. The book also examines landscape and the built environment, showing how architecture and spatial planning convey social order and ideology while reflecting experiences of migration, colonialism, war and industrialization. Another group of artists, born after the mid-1970s, explores issues of social identity, lineage, questions of belonging and personal experiences.
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''Exposing the Maya'' focuses on the works of Désiré Charnay, Alice and Augustus Le Plongeon, Teobert Maler, Alfred Maudslay and Adela Breton, all of whom were masters of their craft and travelled extensively to sites in Mexico and Central America. The over 100 selected images in this volume, together with nearly 40 additional contextual images featuring sketches from(...)
Exposing the Maya: Early archaeological photography in the Americas
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''Exposing the Maya'' focuses on the works of Désiré Charnay, Alice and Augustus Le Plongeon, Teobert Maler, Alfred Maudslay and Adela Breton, all of whom were masters of their craft and travelled extensively to sites in Mexico and Central America. The over 100 selected images in this volume, together with nearly 40 additional contextual images featuring sketches from travel journals, hand-colored drawings, prints, and maps, are combined with the photographers’ own words found in their published writings, journals and letters to provide insight into their methods, context for their images, and to capture the realities of field work in Mesoamerica.
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''Recaptioning Congo'' places the colonial Congo's photography history in new perspectives. Six writers and everyday Congolese urban voices take an African-centered look at imperial archival images and provide them with creative, contemporary and/or literary 'captions'. The book, linked to an exhibition in the photography museum FOMU Antwerp, is based upon the extensive(...)
Recaptioning Congo: African stories and colonial pictures
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''Recaptioning Congo'' places the colonial Congo's photography history in new perspectives. Six writers and everyday Congolese urban voices take an African-centered look at imperial archival images and provide them with creative, contemporary and/or literary 'captions'. The book, linked to an exhibition in the photography museum FOMU Antwerp, is based upon the extensive research of the photographic history of colonial Congo (1885 - 1960), conducted by Dr. Sandrine Colard. It contains a wealth of revealing images that highlight the relationship between past and present, Africa and Europe and Belgium and Congo.
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$56.00
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Published by Steve Lawrence and edited alongside Peter Hujar and Andrew Ullrick, Newspaper was issued in New York City between 1968 and 1971. A wordless, picture-only periodical that replicated the scale of the New York Times, Newspaper ran for 14 issues and featured the disparate practices of over 40 artists. With an editorial focus on placing appropriated material(...)
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March 2023
Newspaper
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Published by Steve Lawrence and edited alongside Peter Hujar and Andrew Ullrick, Newspaper was issued in New York City between 1968 and 1971. A wordless, picture-only periodical that replicated the scale of the New York Times, Newspaper ran for 14 issues and featured the disparate practices of over 40 artists. With an editorial focus on placing appropriated material alongside new artworks, the periodical sought to codify a visual language of high and low culture that represented contemporary society in the late 1960s. While largely overlooked in art-historical discourse, Newspaper showcased many of the most revered artists working in the United States at the time, as well as an emerging coterie of queer artists.
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$12.95
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Format Photographers launched in 1983. It was, uniquely, an agency run by women photographers, for women photographers. It closed in 2003. "From its beginning, the Format ethos and working practice were based on three key principles. The agency aimed to encourage its members to develop their creativity and careers, while remaining sensitive to the context in which their(...)
February 2023
Format photographers: Greenham Common Women's Peace Camp
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Format Photographers launched in 1983. It was, uniquely, an agency run by women photographers, for women photographers. It closed in 2003. "From its beginning, the Format ethos and working practice were based on three key principles. The agency aimed to encourage its members to develop their creativity and careers, while remaining sensitive to the context in which their images were used and distributed. It portrayed people and issues that were under-represented in the mainstream media of the time. By photographing women and men in non-traditional roles, its members aimed to break down gender stereotypes, and changed the way women and other marginalised groups were seen."
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Le catalogue de la 13e édition des Rencontres de Bamako – Biennale africaine de la photographie, sur les thèmes de la multiplicité, de la différence, du devenir et du patrimoine. L'outil essentiel pour appréhender la nature mouvante et évolutive de la multiplicité réside dans la narration. Elle incarne un moyen central par lequel l'humanité pointe son objectif sur(...)
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June 2023
Maa Ka Maaya Ka Ca A Yere Kono, 13ème édition des rencontres de Bamako
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Le catalogue de la 13e édition des Rencontres de Bamako – Biennale africaine de la photographie, sur les thèmes de la multiplicité, de la différence, du devenir et du patrimoine. L'outil essentiel pour appréhender la nature mouvante et évolutive de la multiplicité réside dans la narration. Elle incarne un moyen central par lequel l'humanité pointe son objectif sur elle-même et impulse une tentative d'auto-compréhension et de réflexion. L'ampleur des réponses données à travers l'histoire témoigne de la nature congéniale de la narration et de la multiplicité. De plus, les histoires que nous racontons négocient non seulement qui nous sommes, mais préfigurent également les courants sous-jacents de ce que nous deviendrons. Telle est la préoccupation qui se trouve au cœur de la 13e édition des Rencontres de Bamako – les histoires que nous racontons, les multiples facettes de l'humanité que nous accueillons, les notions de processualité, le devenir dans l'être, les identités stratifiées, fragmentées et divergentes, et les multiples façons d'être dans le monde, qu'elles soient vécues ou imaginées.
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Ce numéro est consacré à l’histoire des manipulations photographiques d’où résultent des images hybrides, soit composées de plusieurs photographies, soit mêlant la photographie à d’autres techniques d’imagerie. À la suite de récents travaux interrogeant l’histoire du photomontage sur le temps long, du XIXe siècle à la culture numérique actuelle, ce numéro propose une(...)
Transbordeur no. 7 : images composites
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Ce numéro est consacré à l’histoire des manipulations photographiques d’où résultent des images hybrides, soit composées de plusieurs photographies, soit mêlant la photographie à d’autres techniques d’imagerie. À la suite de récents travaux interrogeant l’histoire du photomontage sur le temps long, du XIXe siècle à la culture numérique actuelle, ce numéro propose une histoire parallèle de la photographie : une histoire dans laquelle la composition prime sur l’enregistrement. En étudiant la manipulation d’images chez les graphistes, les illustrateurs et les publicitaires, il s’agit de montrer comment le matériau photographique a pu être recombiné, recomposé, ré-agencé. L’actualité des pratiques vernaculaires du montage sur Internet fait l’objet d’une attention particulière, tout autant que les usages et discours des métiers de l’imprimé et de la communication visuelle.
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$50.00
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architekturbild, the European Architectural Photography Prize, has been awarded on a two-yearly basis since 1995. The theme for 2021 is "The urban in the periphery". Migration between conurbations and rural areas, their respective attractiveness and independence, but also dependence and interdependence with one another: What would be more predestined to trace the subtle(...)
The urban in the periphery: European architectural photography
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architekturbild, the European Architectural Photography Prize, has been awarded on a two-yearly basis since 1995. The theme for 2021 is "The urban in the periphery". Migration between conurbations and rural areas, their respective attractiveness and independence, but also dependence and interdependence with one another: What would be more predestined to trace the subtle or even obvious effects of the urban-rural movement than architectural photography?
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''3+: Trois photographes montréalais+/ Three Montreal photographers'' est un catalogue d'une exposition rétrospective de photographies de trois photographes montréalais – Tom Gibson, Donigan Cumming et Michel Campeau – dont le travail a été collectionné et a fait l’objet d’écrits par le commissaire et critique Robert Graham. Leur travail est présenté en association avec(...)
3+ : trois photographes montréalais + / three Montréal photographers +
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''3+: Trois photographes montréalais+/ Three Montreal photographers'' est un catalogue d'une exposition rétrospective de photographies de trois photographes montréalais – Tom Gibson, Donigan Cumming et Michel Campeau – dont le travail a été collectionné et a fait l’objet d’écrits par le commissaire et critique Robert Graham. Leur travail est présenté en association avec plusieurs images, également issues de sa collection, de trois photographes d’ailleurs – Eadweard Muybridge (Britannique, 1830-1904), Miroslav Tichý (Tchécoslovaque, 1926-2011) et Martin Parr (Britannique, 1952- ). Dans son essai, Robert Graham expose son approche critique. Comme il l’a observé, les photographies en séries et en groupes révèlent, par la répétition et le motif, les intérêts sous-jacents de l’artiste, et la conjonction du dernier groupe de photographes met en relief certains aspects des trois premiers. Chaque artiste pratique une rhétorique qui nous aide à comprendre comment nous pensons à travers la photographie. En tant que commissaire de cette exposition, Graham s’est intéressé à la relation entre l’image et la connaissance, et à la façon dont l’une soutient l’autre d’une manière similaire à celle dont ce qu’il appelle métaphoriquement ''l’illustration' et la 'légende' sont liées. De cette manière, la photographie favorise un certain type de connaissance; en effet, les informations spatiales fournies par la photographie constituent une sorte de géographie à part entière, qui a été décrite comme 'l’œil de l’histoire'.
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This publication presents a compilation of photographs from African diasporic culture. With over one hundred works by Black artists from Canada, the Caribbean, Great Britain, the United States, South America, as well as throughout the African continent, this volume provides a timely exploration of Black identity on both sides of the Atlantic. Drawn from Dr. Kenneth(...)
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November 2021
As we rise: Photography from the Black Atlantic
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This publication presents a compilation of photographs from African diasporic culture. With over one hundred works by Black artists from Canada, the Caribbean, Great Britain, the United States, South America, as well as throughout the African continent, this volume provides a timely exploration of Black identity on both sides of the Atlantic. Drawn from Dr. Kenneth Montague’s Wedge Collection in Toronto—a Black-owned collection dedicated to artists of African descent—this book looks at the multifaceted ideas of Black life through the lenses of community, identity, and power. Artists such as Stan Douglas, LaToya Ruby Frazier, Barkley L. Hendricks, Texas Isaiah, Liz Johnson Artur, Seydou Keïta, Deana Lawson, Jamel Shabazz, and Carrie Mae Weems, touch on themes of agency, beauty, joy, belonging, subjectivity, and self-representation. Writings by Isolde Brielmaier, Ugochukwu-Smooth C. Nzewi, Mark Sealy, Teka Selman, and Deborah Willis among others provide insight and commentary on this monumental collection.
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