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books
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Title:
The Remembered film
The Remembered film
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Most books about cinema, whether popular or academic, concentrate on what we might call the ‘inside’ of the film: from star performances to narrative structures. The relatively few books about the ‘outside’ of films speak mainly of such aspects of production and reception as the organization of the film industry and the sociology of audiences: the Hollywood studio system,(...)
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Summary:
Most books about cinema, whether popular or academic, concentrate on what we might call the ‘inside’ of the film: from star performances to narrative structures. The relatively few books about the ‘outside’ of films speak mainly of such aspects of production and reception as the organization of the film industry and the sociology of audiences: the Hollywood studio system,(...)
Title:
The Remembered film
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Most books about cinema, whether popular or academic, concentrate on what we might call the ‘inside’ of the film: from star performances to narrative structures. The relatively few books about the ‘outside’ of films speak mainly of such aspects of production and reception as the organization of the film industry and the sociology of audiences: the Hollywood studio system, for example, or fan clubs. The Remembered Film is unique in addressing a previously overlooked aspect of cinema: the isolated fragments of films, iconic images or scenes, that fleetingly cross our perceptions and thoughts in the course of everyday life. Victor Burgin examines a kaleidescope of film fragments drawn from a variety of media, the internet, memory and fantasy. Among these are sequences of such brevity they might almost be stills. Such ‘sequence-images’, as Burgin calls them, are neither strictly ‘image’ nor ‘image sequence’ and have not been considered before by either film or photography theory. He also considers some typical individual experiences ‘sampled’ from mainstream cinema. He reflects on such disparate occurrences as the association in memory of fragments from otherwise unrelated films, of the relation of a recollected film image to an architectural setting, or of a feeling ‘marked’ by an image remembered from a film. The Remembered Film provides a radical new way of thinking about film outside conventional cinema, and in relation to our everyday lives. It will appeal to a wide audience interested in film and media.
The Remembered film
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Most books about cinema, whether popular or academic, concentrate on what we might call the ‘inside’ of the film: from star performances to narrative structures. The relatively few books about the ‘outside’ of films speak mainly of such aspects of production and reception as the organization of the film industry and the sociology of audiences: the Hollywood studio system, for example, or fan clubs. The Remembered Film is unique in addressing a previously overlooked aspect of cinema: the isolated fragments of films, iconic images or scenes, that fleetingly cross our perceptions and thoughts in the course of everyday life. Victor Burgin examines a kaleidescope of film fragments drawn from a variety of media, the internet, memory and fantasy. Among these are sequences of such brevity they might almost be stills. Such ‘sequence-images’, as Burgin calls them, are neither strictly ‘image’ nor ‘image sequence’ and have not been considered before by either film or photography theory. He also considers some typical individual experiences ‘sampled’ from mainstream cinema. He reflects on such disparate occurrences as the association in memory of fragments from otherwise unrelated films, of the relation of a recollected film image to an architectural setting, or of a feeling ‘marked’ by an image remembered from a film. The Remembered Film provides a radical new way of thinking about film outside conventional cinema, and in relation to our everyday lives. It will appeal to a wide audience interested in film and media.
Form:
books
books
Publication:
October 2004, London
October 2004, London
Subject:
Photography monographs
Photography monographs
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books
books
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$37.50
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Summary:
Despite Bill Brandt’s fame and considerable influence on the development of modern photography, the photographs in this book are a little known body of work. The work was carried out between 1939 and 1943 when Brandt worked on a commercial assignment for the Bournville Village Trust. The prints and negatives have been with BVT for some 60 years and the work has never(...)
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Summary:
Despite Bill Brandt’s fame and considerable influence on the development of modern photography, the photographs in this book are a little known body of work. The work was carried out between 1939 and 1943 when Brandt worked on a commercial assignment for the Bournville Village Trust. The prints and negatives have been with BVT for some 60 years and the work has never(...)
Subject:
Photography monographs
Photography monographs
Publication:
November 2004, Birmingham
November 2004, Birmingham
Title:
Homes fit for heroes : photographs by Bill Brandt, 1939-1943
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Despite Bill Brandt’s fame and considerable influence on the development of modern photography, the photographs in this book are a little known body of work. The work was carried out between 1939 and 1943 when Brandt worked on a commercial assignment for the Bournville Village Trust. The prints and negatives have been with BVT for some 60 years and the work has never been previously published. The photographs illustrate the living conditions in a range of housing types. For example, the back-to-back slums built in the nineteenth century through to modern municipal housing built in the 1930s. The majority of the photographs were taken in Birmingham but also some in London where he looked at ‘old residential’ properties near to his own home in Camden Hill. London was undoubtedly one of Brandt’s favourite subjects and these photographs, taken around 1943, are amongst a much larger body of work Brandt shot in the capital city during the war-years. The Bourneville Village Trust was set up by George Cadbury in 1900 to manage the Bournville Estate, the model housing development which he created near his factory on the outskirts of Birmingham. The objects of the trust included: “the amelioration of the conditions of the working class population of Birmingham and elsewhere in Great Britain”. Many books and articles published around this time sought to address the issue of the living conditions of the working classes and photography played a key role. The images form distinct picture stories where direct contrasts are made between slum and municipal housing. Brandt also uses light very carefully within these images to emphasise these contrasts. A number of the stories follow a distinct narrative sequence – through the idea of ‘a day in the life’ – a device frequently used in the influential magazine, "Picture Post", for which Brandt often worked.
Homes fit for heroes : photographs by Bill Brandt, 1939-1943
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Summary:
Despite Bill Brandt’s fame and considerable influence on the development of modern photography, the photographs in this book are a little known body of work. The work was carried out between 1939 and 1943 when Brandt worked on a commercial assignment for the Bournville Village Trust. The prints and negatives have been with BVT for some 60 years and the work has never been previously published. The photographs illustrate the living conditions in a range of housing types. For example, the back-to-back slums built in the nineteenth century through to modern municipal housing built in the 1930s. The majority of the photographs were taken in Birmingham but also some in London where he looked at ‘old residential’ properties near to his own home in Camden Hill. London was undoubtedly one of Brandt’s favourite subjects and these photographs, taken around 1943, are amongst a much larger body of work Brandt shot in the capital city during the war-years. The Bourneville Village Trust was set up by George Cadbury in 1900 to manage the Bournville Estate, the model housing development which he created near his factory on the outskirts of Birmingham. The objects of the trust included: “the amelioration of the conditions of the working class population of Birmingham and elsewhere in Great Britain”. Many books and articles published around this time sought to address the issue of the living conditions of the working classes and photography played a key role. The images form distinct picture stories where direct contrasts are made between slum and municipal housing. Brandt also uses light very carefully within these images to emphasise these contrasts. A number of the stories follow a distinct narrative sequence – through the idea of ‘a day in the life’ – a device frequently used in the influential magazine, "Picture Post", for which Brandt often worked.
Form:
books
books
Publication:
November 2004, Birmingham
November 2004, Birmingham
Subject:
Photography monographs
Photography monographs
Form:
books
books
Title:
André Kertész
André Kertész
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$22.95
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André Kertész est de ceux qui ont façonné le style de la photographie moderne. Son esprit d'indépendance l'a conduit, dès les années 1910, à pratiquer un art de la spontanéité et de la sincérité, à la recherche de ces instants de grâce fortuite qui «fixent le caractère propre des choses». Tendre, nostalgique, pudique, il a révélé des voies nouvelles pour la photographie,(...)
$22.95
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André Kertész est de ceux qui ont façonné le style de la photographie moderne. Son esprit d'indépendance l'a conduit, dès les années 1910, à pratiquer un art de la spontanéité et de la sincérité, à la recherche de ces instants de grâce fortuite qui «fixent le caractère propre des choses». Tendre, nostalgique, pudique, il a révélé des voies nouvelles pour la photographie,(...)
Subject:
Photography monographs
Photography monographs
Publication:
January 2008, Arles
January 2008, Arles
Title:
André Kertész
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André Kertész est de ceux qui ont façonné le style de la photographie moderne. Son esprit d'indépendance l'a conduit, dès les années 1910, à pratiquer un art de la spontanéité et de la sincérité, à la recherche de ces instants de grâce fortuite qui «fixent le caractère propre des choses». Tendre, nostalgique, pudique, il a révélé des voies nouvelles pour la photographie, à la lisière poétique du réalisme, sans insistance ni emphase. «Je ne documente jamais, je donne une interprétation», dit-il.
André Kertész
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André Kertész est de ceux qui ont façonné le style de la photographie moderne. Son esprit d'indépendance l'a conduit, dès les années 1910, à pratiquer un art de la spontanéité et de la sincérité, à la recherche de ces instants de grâce fortuite qui «fixent le caractère propre des choses». Tendre, nostalgique, pudique, il a révélé des voies nouvelles pour la photographie, à la lisière poétique du réalisme, sans insistance ni emphase. «Je ne documente jamais, je donne une interprétation», dit-il.
Form:
books
books
Publication:
January 2008, Arles
January 2008, Arles
Subject:
Photography monographs
Photography monographs
Form:
books
books
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$75.00
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Summary:
Walter Pfeiffer, whose work in the 1970s and 1980s prefigured many of the decisive developments in contemporary art today, is a classic artist's artist. Famous and beloved among art aficionados, Pfeiffer almost has been forgotten by the public at large. Now it's time to discover him, as his images seem more timely than ever. "Welcome Aboard! Photographs 1980 -- 2000" is(...)
$75.00
(available to order)
Summary:
Walter Pfeiffer, whose work in the 1970s and 1980s prefigured many of the decisive developments in contemporary art today, is a classic artist's artist. Famous and beloved among art aficionados, Pfeiffer almost has been forgotten by the public at large. Now it's time to discover him, as his images seem more timely than ever. "Welcome Aboard! Photographs 1980 -- 2000" is(...)
Subject:
Photography monographs
Photography monographs
Publication:
October 2001, Zürich
October 2001, Zürich
Title:
Walter Pfeiffer Welcome Aboard
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$75.00
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Walter Pfeiffer, whose work in the 1970s and 1980s prefigured many of the decisive developments in contemporary art today, is a classic artist's artist. Famous and beloved among art aficionados, Pfeiffer almost has been forgotten by the public at large. Now it's time to discover him, as his images seem more timely than ever. "Welcome Aboard! Photographs 1980 -- 2000" is both a monograph on Pfeiffer's photographic work and an artist's book, a photo-novel all of its own. Pfeiffer takes you on a long trip from suburban bliss to the horse race at Ascot, from wind-swept beaches to majestic mountaintops. Pfeiffer knows our dreams and artfully plays with them. In his still-lifes, landscapes, and portraits of beautiful boys and mischievous women, Pfeiffer celebrates his quest for beauty and glamour with sophistication, irony, and wit. Pfeiffer leads you into a world between reality and reverie, snapshot and mise-en-scène. The book is a photo album from Arcadia. With simple means Pfeiffer creates intelligent and classic images of beauty and bliss, imbued with a wistful awareness of their artifice. Stylish, suggestive, and erotic, his images are an encyclopedia of desire.
Walter Pfeiffer Welcome Aboard
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Walter Pfeiffer, whose work in the 1970s and 1980s prefigured many of the decisive developments in contemporary art today, is a classic artist's artist. Famous and beloved among art aficionados, Pfeiffer almost has been forgotten by the public at large. Now it's time to discover him, as his images seem more timely than ever. "Welcome Aboard! Photographs 1980 -- 2000" is both a monograph on Pfeiffer's photographic work and an artist's book, a photo-novel all of its own. Pfeiffer takes you on a long trip from suburban bliss to the horse race at Ascot, from wind-swept beaches to majestic mountaintops. Pfeiffer knows our dreams and artfully plays with them. In his still-lifes, landscapes, and portraits of beautiful boys and mischievous women, Pfeiffer celebrates his quest for beauty and glamour with sophistication, irony, and wit. Pfeiffer leads you into a world between reality and reverie, snapshot and mise-en-scène. The book is a photo album from Arcadia. With simple means Pfeiffer creates intelligent and classic images of beauty and bliss, imbued with a wistful awareness of their artifice. Stylish, suggestive, and erotic, his images are an encyclopedia of desire.
Form:
books
books
Publication:
October 2001, Zürich
October 2001, Zürich
Subject:
Photography monographs
Photography monographs
Form:
books
books
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$46.00
(available to order)
Summary:
The street is the workplace of the artist Paulien Oltheten (b. Nijmegen, 1982). Seemingly in passing, she seeks out precisely those moments when there is contact between people, things and the public space with her still and moving viewfinders. She also has a remarkable eye for the small and the subtle: her photos are often profoundly touching. Street Theory brings(...)
$46.00
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Summary:
The street is the workplace of the artist Paulien Oltheten (b. Nijmegen, 1982). Seemingly in passing, she seeks out precisely those moments when there is contact between people, things and the public space with her still and moving viewfinders. She also has a remarkable eye for the small and the subtle: her photos are often profoundly touching. Street Theory brings(...)
Title:
Paulien Oltheten: Theory of the street
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The street is the workplace of the artist Paulien Oltheten (b. Nijmegen, 1982). Seemingly in passing, she seeks out precisely those moments when there is contact between people, things and the public space with her still and moving viewfinders. She also has a remarkable eye for the small and the subtle: her photos are often profoundly touching. Street Theory brings together about a hundred photos, video stills and drawings by Oltheten, each of which testifies to how we use, move through, sit, lounge and behave in the public domain, and above all how we relate to other people and objects. Oltheten often annotates these striking images and intriguing situations with handwritten notes that become an integral part of the whole, adding a new, narrative layer of meaning.
Paulien Oltheten: Theory of the street
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The street is the workplace of the artist Paulien Oltheten (b. Nijmegen, 1982). Seemingly in passing, she seeks out precisely those moments when there is contact between people, things and the public space with her still and moving viewfinders. She also has a remarkable eye for the small and the subtle: her photos are often profoundly touching. Street Theory brings together about a hundred photos, video stills and drawings by Oltheten, each of which testifies to how we use, move through, sit, lounge and behave in the public domain, and above all how we relate to other people and objects. Oltheten often annotates these striking images and intriguing situations with handwritten notes that become an integral part of the whole, adding a new, narrative layer of meaning.
Form:
books
books
Publication:
March 2008, Rotterdam
March 2008, Rotterdam
Subject:
Photography monographs
Photography monographs
Form:
books
books
Title:
Friederike von Rauch. Sites
Friederike von Rauch. Sites
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$69.00
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"...before I take my pictures, I explore the sites ... I never touch locations, neither by tyding up nor by cordoning off ... my favourite lighting is an overcast white sky giving a shadowless, diffuse atmosphere ... I wait until the scene is as I want it: completely deserted ... I refuse to work in a hurry. I've decided that my focus is on focusing ... I take my(...)
$69.00
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Summary:
"...before I take my pictures, I explore the sites ... I never touch locations, neither by tyding up nor by cordoning off ... my favourite lighting is an overcast white sky giving a shadowless, diffuse atmosphere ... I wait until the scene is as I want it: completely deserted ... I refuse to work in a hurry. I've decided that my focus is on focusing ... I take my(...)
Title:
Friederike von Rauch. Sites
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$69.00
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"...before I take my pictures, I explore the sites ... I never touch locations, neither by tyding up nor by cordoning off ... my favourite lighting is an overcast white sky giving a shadowless, diffuse atmosphere ... I wait until the scene is as I want it: completely deserted ... I refuse to work in a hurry. I've decided that my focus is on focusing ... I take my pictures with an analogue Roelleiflex"
Friederike von Rauch. Sites
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$69.00
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"...before I take my pictures, I explore the sites ... I never touch locations, neither by tyding up nor by cordoning off ... my favourite lighting is an overcast white sky giving a shadowless, diffuse atmosphere ... I wait until the scene is as I want it: completely deserted ... I refuse to work in a hurry. I've decided that my focus is on focusing ... I take my pictures with an analogue Roelleiflex"
Form:
books
books
Publication:
February 2008, Bruxelles
February 2008, Bruxelles
Subject:
Photography monographs
Photography monographs
Form:
books
books
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$50.00
(available to order)
Summary:
How does twenty-first-century Germany deal with the remaining Fascist architecture of the 1930s and 1940s? Between 2001 and 2006, the German photographer Ralf Meyer created a collection of 130 photographs, taken at 32 locations across the country. The photographs were not intended to be mere reproductions of facades; instead, they were meant to investigate how German(...)
$50.00
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Summary:
How does twenty-first-century Germany deal with the remaining Fascist architecture of the 1930s and 1940s? Between 2001 and 2006, the German photographer Ralf Meyer created a collection of 130 photographs, taken at 32 locations across the country. The photographs were not intended to be mere reproductions of facades; instead, they were meant to investigate how German(...)
Title:
Architectural rearguard, Ralf Meyer
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How does twenty-first-century Germany deal with the remaining Fascist architecture of the 1930s and 1940s? Between 2001 and 2006, the German photographer Ralf Meyer created a collection of 130 photographs, taken at 32 locations across the country. The photographs were not intended to be mere reproductions of facades; instead, they were meant to investigate how German citizens deal with the results of the overwhelming historical architecture that surrounds them. Each one of the buildings Meyer sought out was constructed for an ideological purpose: can these implicit messages still be detected in the architecture? What is life like in and around these buildings, now that so much has changed?
Architectural rearguard, Ralf Meyer
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Summary:
How does twenty-first-century Germany deal with the remaining Fascist architecture of the 1930s and 1940s? Between 2001 and 2006, the German photographer Ralf Meyer created a collection of 130 photographs, taken at 32 locations across the country. The photographs were not intended to be mere reproductions of facades; instead, they were meant to investigate how German citizens deal with the results of the overwhelming historical architecture that surrounds them. Each one of the buildings Meyer sought out was constructed for an ideological purpose: can these implicit messages still be detected in the architecture? What is life like in and around these buildings, now that so much has changed?
Form:
books
books
Publication:
March 2008, Leipzig
March 2008, Leipzig
Subject:
Photography monographs
Photography monographs
Form:
books
books
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$47.00
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Summary:
In post-colonial Africa, «White Elephant» was the name given to buildings erected with international money and never put to use; relic of an enormous waste. Europe has its own fair share of such mammoths: a pratically unused railway station designed by Santiago Calatrava near Lyon, the frame of an Aldo Rossi shopping mall in Berlin, a lonely feeder road in the middle of(...)
$47.00
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Summary:
In post-colonial Africa, «White Elephant» was the name given to buildings erected with international money and never put to use; relic of an enormous waste. Europe has its own fair share of such mammoths: a pratically unused railway station designed by Santiago Calatrava near Lyon, the frame of an Aldo Rossi shopping mall in Berlin, a lonely feeder road in the middle of(...)
Title:
Weisse Elefanten / White Elephants
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In post-colonial Africa, «White Elephant» was the name given to buildings erected with international money and never put to use; relic of an enormous waste. Europe has its own fair share of such mammoths: a pratically unused railway station designed by Santiago Calatrava near Lyon, the frame of an Aldo Rossi shopping mall in Berlin, a lonely feeder road in the middle of nowhere, now slowly being reclaimed by nature... On his search for new developments in ruins, the Swiss photographer Christian Helmle discovered a vast amount of monumental solitary buildings and complexes throughout Europe's cities and countrysides. Relieved of their original functions, the barren structures have lost any connection to their environments, appearing alien and surreal. Throught Christian Helmle's shots they develop their own individual, touchingly melancholic aesthetic.
Weisse Elefanten / White Elephants
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In post-colonial Africa, «White Elephant» was the name given to buildings erected with international money and never put to use; relic of an enormous waste. Europe has its own fair share of such mammoths: a pratically unused railway station designed by Santiago Calatrava near Lyon, the frame of an Aldo Rossi shopping mall in Berlin, a lonely feeder road in the middle of nowhere, now slowly being reclaimed by nature... On his search for new developments in ruins, the Swiss photographer Christian Helmle discovered a vast amount of monumental solitary buildings and complexes throughout Europe's cities and countrysides. Relieved of their original functions, the barren structures have lost any connection to their environments, appearing alien and surreal. Throught Christian Helmle's shots they develop their own individual, touchingly melancholic aesthetic.
Form:
books
books
Publication:
March 2008
March 2008
Subject:
Photography monographs
Photography monographs
Form:
books
books
Title:
Malick Sidibé : chemises
Malick Sidibé : chemises
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$42.00
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Summary:
Malick Sidibé has gained an international reputation for his documentation of an important aspect of the history of Mali. His photographs uniquely convey the atmosphere and vitality of the capital, Bamako, in a period of tremendous euphoric cultural change. Soon after Sidibé set up his own studio in 1962 he was highly sought after to photograph all the happening events(...)
$42.00
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Summary:
Malick Sidibé has gained an international reputation for his documentation of an important aspect of the history of Mali. His photographs uniquely convey the atmosphere and vitality of the capital, Bamako, in a period of tremendous euphoric cultural change. Soon after Sidibé set up his own studio in 1962 he was highly sought after to photograph all the happening events(...)
Title:
Malick Sidibé : chemises
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Malick Sidibé has gained an international reputation for his documentation of an important aspect of the history of Mali. His photographs uniquely convey the atmosphere and vitality of the capital, Bamako, in a period of tremendous euphoric cultural change. Soon after Sidibé set up his own studio in 1962 he was highly sought after to photograph all the happening events and ceremonies in Mali, including football matches, weddings, Christmas Eve celebrations and the surprise parties thrown by groups of youths belonging to clubs. The clubs were named after their idols and the styles of western music (Los Cubanos, Les Caïds, Las Vegas, etc.) which had just started being sold in Bamako. Malian independence brought not only a whiff of liberty and insouciance, communist friendship with brother countries,but also dreams of western society. Sidibé sometimes photographed five reports in one night before returning to the lab to develop the negatives. He would then display on the studio walls carefully numbered index prints which were glued on administrative folders. These are the «chemises» reproduced in this book. In the following days, the party people came to look at the folders and select the photos that they wanted to buy. The folders reproduced in this book constitute a significant catalogue of Sidibé's work. Progressively, in the mid-seventies, youths met less frequently at clubs and went more often to night clubs which were not Malick's haunts. He therefore shifted his activity to studio portraits and camera repairs.
Malick Sidibé : chemises
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Malick Sidibé has gained an international reputation for his documentation of an important aspect of the history of Mali. His photographs uniquely convey the atmosphere and vitality of the capital, Bamako, in a period of tremendous euphoric cultural change. Soon after Sidibé set up his own studio in 1962 he was highly sought after to photograph all the happening events and ceremonies in Mali, including football matches, weddings, Christmas Eve celebrations and the surprise parties thrown by groups of youths belonging to clubs. The clubs were named after their idols and the styles of western music (Los Cubanos, Les Caïds, Las Vegas, etc.) which had just started being sold in Bamako. Malian independence brought not only a whiff of liberty and insouciance, communist friendship with brother countries,but also dreams of western society. Sidibé sometimes photographed five reports in one night before returning to the lab to develop the negatives. He would then display on the studio walls carefully numbered index prints which were glued on administrative folders. These are the «chemises» reproduced in this book. In the following days, the party people came to look at the folders and select the photos that they wanted to buy. The folders reproduced in this book constitute a significant catalogue of Sidibé's work. Progressively, in the mid-seventies, youths met less frequently at clubs and went more often to night clubs which were not Malick's haunts. He therefore shifted his activity to studio portraits and camera repairs.
Form:
books
books
Publication:
April 2008, Gottingen
April 2008, Gottingen
Subject:
Photography monographs
Photography monographs
Form:
books
books
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$94.00
(available to order)
Summary:
A natural chronicler of all things uniquely American, photographer Lee Friedlander here puts his lens to the work of Frederick Law Olmsted (1822-1903), landscape architect, whose most famous work remains New York City's Central Park, a pioneering egalitarian gesture that, at the time, was very unusual for its ready accessibility. This book, published to coincide with The(...)
$94.00
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Summary:
A natural chronicler of all things uniquely American, photographer Lee Friedlander here puts his lens to the work of Frederick Law Olmsted (1822-1903), landscape architect, whose most famous work remains New York City's Central Park, a pioneering egalitarian gesture that, at the time, was very unusual for its ready accessibility. This book, published to coincide with The(...)
Title:
Lee Friedlander: Frederick Law Olmstead: landscapes
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A natural chronicler of all things uniquely American, photographer Lee Friedlander here puts his lens to the work of Frederick Law Olmsted (1822-1903), landscape architect, whose most famous work remains New York City's Central Park, a pioneering egalitarian gesture that, at the time, was very unusual for its ready accessibility. This book, published to coincide with The Metropolitan Museum of Art's 2008 exhibition, compiles 89 photographs made by Friedlander in Olmsted's public parks and private estates, carefully reproduced in mostly full page black and white illustrations.
Lee Friedlander: Frederick Law Olmstead: landscapes
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A natural chronicler of all things uniquely American, photographer Lee Friedlander here puts his lens to the work of Frederick Law Olmsted (1822-1903), landscape architect, whose most famous work remains New York City's Central Park, a pioneering egalitarian gesture that, at the time, was very unusual for its ready accessibility. This book, published to coincide with The Metropolitan Museum of Art's 2008 exhibition, compiles 89 photographs made by Friedlander in Olmsted's public parks and private estates, carefully reproduced in mostly full page black and white illustrations.
Form:
books
books
Publication:
March 2008, New York
March 2008, New York
Subject:
Photography monographs
Photography monographs
