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Robert Adams, one of America’s foremost living photographers, has spent decades considering and documenting the landscape of the American West and how it has been altered, disturbed, or destroyed by the hand of man. A professor of English before turning to photography, Adams is also a skilled writer and acute thinker on aesthetic questions. A collection of conversations(...)
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Robert Adams, one of America’s foremost living photographers, has spent decades considering and documenting the landscape of the American West and how it has been altered, disturbed, or destroyed by the hand of man. A professor of English before turning to photography, Adams is also a skilled writer and acute thinker on aesthetic questions. A collection of conversations(...)
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Along some rivers : photographs and conversations
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Robert Adams, one of America’s foremost living photographers, has spent decades considering and documenting the landscape of the American West and how it has been altered, disturbed, or destroyed by the hand of man. A professor of English before turning to photography, Adams is also a skilled writer and acute thinker on aesthetic questions. A collection of conversations (some previously unpublished) with writers and curators—William McEwan, Constance Sullivan, and Thomas Weski, among others (including a group of his students) offers the artist’s thoughts on a number of his now legendary projects, including "Cottonwoods" and "What we bought". This publication includes a selection of twenty-eight unpublished landscapes. Foreword by Richard B. Woodward.
Along some rivers : photographs and conversations
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Robert Adams, one of America’s foremost living photographers, has spent decades considering and documenting the landscape of the American West and how it has been altered, disturbed, or destroyed by the hand of man. A professor of English before turning to photography, Adams is also a skilled writer and acute thinker on aesthetic questions. A collection of conversations (some previously unpublished) with writers and curators—William McEwan, Constance Sullivan, and Thomas Weski, among others (including a group of his students) offers the artist’s thoughts on a number of his now legendary projects, including "Cottonwoods" and "What we bought". This publication includes a selection of twenty-eight unpublished landscapes. Foreword by Richard B. Woodward.
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books
books
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May 2006, New York
May 2006, New York
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Photography monographs
Photography monographs
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books
books
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$36.00
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season, Hans van der Meer set out to take a series of football photographs that avoided the clichéd traditions of modern sports photography. In an attempt to record the game in its original form — a field, two goals and 22 players — he sought matches at the bottom end of the amateur leagues, the opposite end of the scale to the Champions' League. And he avoided the(...)
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season, Hans van der Meer set out to take a series of football photographs that avoided the clichéd traditions of modern sports photography. In an attempt to record the game in its original form — a field, two goals and 22 players — he sought matches at the bottom end of the amateur leagues, the opposite end of the scale to the Champions' League. And he avoided the(...)
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European fields : the landscape of lower league football
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season, Hans van der Meer set out to take a series of football photographs that avoided the clichéd traditions of modern sports photography. In an attempt to record the game in its original form — a field, two goals and 22 players — he sought matches at the bottom end of the amateur leagues, the opposite end of the scale to the Champions' League. And he avoided the enclosed environment of the stadium and tight telescopic details and hyperbole of action photography.
European fields : the landscape of lower league football
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season, Hans van der Meer set out to take a series of football photographs that avoided the clichéd traditions of modern sports photography. In an attempt to record the game in its original form — a field, two goals and 22 players — he sought matches at the bottom end of the amateur leagues, the opposite end of the scale to the Champions' League. And he avoided the enclosed environment of the stadium and tight telescopic details and hyperbole of action photography.
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books
books
Publication:
July 2006, Göttingen
July 2006, Göttingen
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Photography monographs
Photography monographs
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books
books
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Robbins and Becher produce work that functions as surreal nonfiction, using documentary images to examine contradictions of place and cultural identity. In the words of the artists, “The primary focus of our work is what we call the transportation of place—situations in which one limited or isolated place strongly resembles another distant one. Everywhere, not only in the(...)
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Robbins and Becher produce work that functions as surreal nonfiction, using documentary images to examine contradictions of place and cultural identity. In the words of the artists, “The primary focus of our work is what we call the transportation of place—situations in which one limited or isolated place strongly resembles another distant one. Everywhere, not only in the(...)
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Photography monographs
Photography monographs
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May 2006, New York
May 2006, New York
Title:
The transportation of place : Andrea Robbins & Max Becher
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Robbins and Becher produce work that functions as surreal nonfiction, using documentary images to examine contradictions of place and cultural identity. In the words of the artists, “The primary focus of our work is what we call the transportation of place—situations in which one limited or isolated place strongly resembles another distant one. Everywhere, not only in the new world, such situations are accumulating and accepted as genuine locales. Traditional notions of place, in which culture and geographic location neatly coincide, are being challenged by legacies of slavery, colonialism, holocaust, immigration, tourism, and mass-communication. Whether the subject is Germany in Africa, Germans dressing as Native Americans, American towns dressed as Germany, New York in Las Vegas, New York in Cuba, or Cuba in exile, our interest tends to be a place out of place with its various causes and consequences.” The work posits vital questions for a globalized world: What are the larger implications of “ideological passing,” when one culture assumes the skin of another? And what role can photography play as a document in context where cultural signification is entirely fluid? Curator and author Maurice Berger examines the work of Robbins and Becher against the background of race and identity, but also of Surrealism. Lucy Lippard discusses the development of the husband-and-wife team’s work together, as well as looking specifically at the ideas of location, landscape, and manufactured place.
The transportation of place : Andrea Robbins & Max Becher
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Robbins and Becher produce work that functions as surreal nonfiction, using documentary images to examine contradictions of place and cultural identity. In the words of the artists, “The primary focus of our work is what we call the transportation of place—situations in which one limited or isolated place strongly resembles another distant one. Everywhere, not only in the new world, such situations are accumulating and accepted as genuine locales. Traditional notions of place, in which culture and geographic location neatly coincide, are being challenged by legacies of slavery, colonialism, holocaust, immigration, tourism, and mass-communication. Whether the subject is Germany in Africa, Germans dressing as Native Americans, American towns dressed as Germany, New York in Las Vegas, New York in Cuba, or Cuba in exile, our interest tends to be a place out of place with its various causes and consequences.” The work posits vital questions for a globalized world: What are the larger implications of “ideological passing,” when one culture assumes the skin of another? And what role can photography play as a document in context where cultural signification is entirely fluid? Curator and author Maurice Berger examines the work of Robbins and Becher against the background of race and identity, but also of Surrealism. Lucy Lippard discusses the development of the husband-and-wife team’s work together, as well as looking specifically at the ideas of location, landscape, and manufactured place.
Form:
books
books
Publication:
May 2006, New York
May 2006, New York
Subject:
Photography monographs
Photography monographs
Form:
books
books
Title:
John Divola : three acts
John Divola : three acts
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In 1973, artist John Divola began the first of three highly ambitious and original bodies of work that together form this publication. The Vandalism series comprises black-and-white photographs of interiors of abandoned houses. Entering illegally, Divola spray painted expressive markings in the forms of dots, lines, and grids, creating a series of conceptual gestures that(...)
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In 1973, artist John Divola began the first of three highly ambitious and original bodies of work that together form this publication. The Vandalism series comprises black-and-white photographs of interiors of abandoned houses. Entering illegally, Divola spray painted expressive markings in the forms of dots, lines, and grids, creating a series of conceptual gestures that(...)
Title:
John Divola : three acts
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In 1973, artist John Divola began the first of three highly ambitious and original bodies of work that together form this publication. The Vandalism series comprises black-and-white photographs of interiors of abandoned houses. Entering illegally, Divola spray painted expressive markings in the forms of dots, lines, and grids, creating a series of conceptual gestures that referenced “action painting” as readily as the graffiti that was fast becoming a cultural phenomenon. The following year, Divola began the Los Angeles International Airport Noise Abatement series, photographing a condemned neighborhood bought out by the airport to serve as a noise buffer for new runways.An extensive catalog of break-ins, the photographs record the evidence of violent entries: shattered windows, doors torn from hinges, a crowbar resting in the jamb of a door pried open. The final installment in this book, the Zuma series, is the artist’s documentation of the destruction of an abandoned beachfront property. While employing similar strategies of painting and intervention, the Zuma images add variation and complexity to Divola’s established themes as they incorporate color, elements of nature, and meditation on change. These cyclical images skillfully juxtapose romantic skies and sunsets with a seaside structure that, frame by frame, deteriorates into ruin as it is vandalized by the artist and others who eventually set it on fire. Divola’s art practice shares a tradition with conceptual artists such as Bruce Nauman, whose photographs are considered to be performance or sculpture, and Robert Smithson, who used photography to investigate the built environment.
John Divola : three acts
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In 1973, artist John Divola began the first of three highly ambitious and original bodies of work that together form this publication. The Vandalism series comprises black-and-white photographs of interiors of abandoned houses. Entering illegally, Divola spray painted expressive markings in the forms of dots, lines, and grids, creating a series of conceptual gestures that referenced “action painting” as readily as the graffiti that was fast becoming a cultural phenomenon. The following year, Divola began the Los Angeles International Airport Noise Abatement series, photographing a condemned neighborhood bought out by the airport to serve as a noise buffer for new runways.An extensive catalog of break-ins, the photographs record the evidence of violent entries: shattered windows, doors torn from hinges, a crowbar resting in the jamb of a door pried open. The final installment in this book, the Zuma series, is the artist’s documentation of the destruction of an abandoned beachfront property. While employing similar strategies of painting and intervention, the Zuma images add variation and complexity to Divola’s established themes as they incorporate color, elements of nature, and meditation on change. These cyclical images skillfully juxtapose romantic skies and sunsets with a seaside structure that, frame by frame, deteriorates into ruin as it is vandalized by the artist and others who eventually set it on fire. Divola’s art practice shares a tradition with conceptual artists such as Bruce Nauman, whose photographs are considered to be performance or sculpture, and Robert Smithson, who used photography to investigate the built environment.
Form:
books
books
Publication:
May 2006, New York
May 2006, New York
Subject:
Photography monographs
Photography monographs
Form:
books
books
Title:
William Christenberry
William Christenberry
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Since the early 1960s, William Christenberry has plumbed the regional identity of the American South, focusing his attention on Hale County, Alabama, from which he hails. Although Christenberry is most often associated with and recognized as a pioneer in the field of American color photography, his vision is multifaceted and rendered through an unorthodox mix of media(...)
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Since the early 1960s, William Christenberry has plumbed the regional identity of the American South, focusing his attention on Hale County, Alabama, from which he hails. Although Christenberry is most often associated with and recognized as a pioneer in the field of American color photography, his vision is multifaceted and rendered through an unorthodox mix of media(...)
Subject:
Photography monographs
Photography monographs
Publication:
June 2006, New York
June 2006, New York
Title:
William Christenberry
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Since the early 1960s, William Christenberry has plumbed the regional identity of the American South, focusing his attention on Hale County, Alabama, from which he hails. Although Christenberry is most often associated with and recognized as a pioneer in the field of American color photography, his vision is multifaceted and rendered through an unorthodox mix of media that includes sculpture, drawing, painting, and found-object assemblage. Christenberry’s theme, however, is singular : the history, the very story of place, is at the heart of his project. Christenberry’s poetic documentation of vernacular architecture, signage, and landscape captures moments of quiet beauty in a sometimes mythic terrain that, with its iconography and buildings turned ramshackle. Since relocating to Washington, D.C., in 1968, Christenberry has dutifully returned to photograph the same locations annually - the green barn, the palmist building, the Bar-B-Q Inn, among others - fulfilling a personal ritual and documenting the physical changes wrought by the passing of a year. With a foreword by Elizabeth Brou.
William Christenberry
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Since the early 1960s, William Christenberry has plumbed the regional identity of the American South, focusing his attention on Hale County, Alabama, from which he hails. Although Christenberry is most often associated with and recognized as a pioneer in the field of American color photography, his vision is multifaceted and rendered through an unorthodox mix of media that includes sculpture, drawing, painting, and found-object assemblage. Christenberry’s theme, however, is singular : the history, the very story of place, is at the heart of his project. Christenberry’s poetic documentation of vernacular architecture, signage, and landscape captures moments of quiet beauty in a sometimes mythic terrain that, with its iconography and buildings turned ramshackle. Since relocating to Washington, D.C., in 1968, Christenberry has dutifully returned to photograph the same locations annually - the green barn, the palmist building, the Bar-B-Q Inn, among others - fulfilling a personal ritual and documenting the physical changes wrought by the passing of a year. With a foreword by Elizabeth Brou.
Form:
books
books
Publication:
June 2006, New York
June 2006, New York
Subject:
Photography monographs
Photography monographs
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books
books
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$9.95
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The Irving Oil Company has long played an important role in the economic and cultural landscape of Eastern Canada. Its holdings, ranging from the country's largest refinery to the western hemisphere's first deep-water terminal, also include the ubiquitous Irving gas station. Thaddeus Howlonia, with his trademark panoramic photography, has documented dozens of these(...)
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The Irving Oil Company has long played an important role in the economic and cultural landscape of Eastern Canada. Its holdings, ranging from the country's largest refinery to the western hemisphere's first deep-water terminal, also include the ubiquitous Irving gas station. Thaddeus Howlonia, with his trademark panoramic photography, has documented dozens of these(...)
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Thaddeus Holownia: Station, Irving
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The Irving Oil Company has long played an important role in the economic and cultural landscape of Eastern Canada. Its holdings, ranging from the country's largest refinery to the western hemisphere's first deep-water terminal, also include the ubiquitous Irving gas station. Thaddeus Howlonia, with his trademark panoramic photography, has documented dozens of these structures over twenty five years, often photographing the same station years apart. His work reveals the complex interaction these boxy modernist structures with their material clutter have with a region known for its traditional, picturesque vernacular.
Thaddeus Holownia: Station, Irving
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The Irving Oil Company has long played an important role in the economic and cultural landscape of Eastern Canada. Its holdings, ranging from the country's largest refinery to the western hemisphere's first deep-water terminal, also include the ubiquitous Irving gas station. Thaddeus Howlonia, with his trademark panoramic photography, has documented dozens of these structures over twenty five years, often photographing the same station years apart. His work reveals the complex interaction these boxy modernist structures with their material clutter have with a region known for its traditional, picturesque vernacular.
Form:
books
books
Publication:
October 2005
October 2005
Subject:
Photography monographs
Photography monographs
Form:
books
books
Title:
Günter Forg : Compostela
Günter Forg : Compostela
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The project conceived by this German artist, who is an admirer of depurated architectures, focuses on the architecture designed by Alvaro Siza to shelter the Faculty of Sciences of Communication. When installing his photographs at the Centro Galego de Arte Contemporanea, Forg stages a mirror-window interaction, which stretches the initial concept (Siza's faculty) to the(...)
$42.50
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Summary:
The project conceived by this German artist, who is an admirer of depurated architectures, focuses on the architecture designed by Alvaro Siza to shelter the Faculty of Sciences of Communication. When installing his photographs at the Centro Galego de Arte Contemporanea, Forg stages a mirror-window interaction, which stretches the initial concept (Siza's faculty) to the(...)
Subject:
Photography monographs
Photography monographs
Publication:
December 2004, Santiago de Compostela
December 2004, Santiago de Compostela
Title:
Günter Forg : Compostela
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The project conceived by this German artist, who is an admirer of depurated architectures, focuses on the architecture designed by Alvaro Siza to shelter the Faculty of Sciences of Communication. When installing his photographs at the Centro Galego de Arte Contemporanea, Forg stages a mirror-window interaction, which stretches the initial concept (Siza's faculty) to the exhibition rooms in the CGAC. The installation drags the visitor to vertigo by proposing a reflection on the plane and space, on our concepts of two-dimensionality and three-dimensionality, on the transposition of the spatial over the temporal.
Günter Forg : Compostela
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$42.50
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Summary:
The project conceived by this German artist, who is an admirer of depurated architectures, focuses on the architecture designed by Alvaro Siza to shelter the Faculty of Sciences of Communication. When installing his photographs at the Centro Galego de Arte Contemporanea, Forg stages a mirror-window interaction, which stretches the initial concept (Siza's faculty) to the exhibition rooms in the CGAC. The installation drags the visitor to vertigo by proposing a reflection on the plane and space, on our concepts of two-dimensionality and three-dimensionality, on the transposition of the spatial over the temporal.
Form:
books
books
Publication:
December 2004, Santiago de Compostela
December 2004, Santiago de Compostela
Subject:
Photography monographs
Photography monographs
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books
books
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$69.95
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Taking three years to complete, this complex study extends on Hiller's interests in exploring historical events that are visually and emotionally compelling. Presented here is an installation that contained both video and photographic works documenting every street in Germany whose name contains a reference to Jews. The result is a collection of images that are compelling(...)
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Taking three years to complete, this complex study extends on Hiller's interests in exploring historical events that are visually and emotionally compelling. Presented here is an installation that contained both video and photographic works documenting every street in Germany whose name contains a reference to Jews. The result is a collection of images that are compelling(...)
Subject:
Photography monographs
Photography monographs
Publication:
October 2006, Warwickshire, Berlin
October 2006, Warwickshire, Berlin
Title:
Susan Hiller : the J. street project
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Taking three years to complete, this complex study extends on Hiller's interests in exploring historical events that are visually and emotionally compelling. Presented here is an installation that contained both video and photographic works documenting every street in Germany whose name contains a reference to Jews. The result is a collection of images that are compelling in their feeling of sadness and absence that they provoke.
Susan Hiller : the J. street project
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Taking three years to complete, this complex study extends on Hiller's interests in exploring historical events that are visually and emotionally compelling. Presented here is an installation that contained both video and photographic works documenting every street in Germany whose name contains a reference to Jews. The result is a collection of images that are compelling in their feeling of sadness and absence that they provoke.
Form:
books
books
Publication:
October 2006, Warwickshire, Berlin
October 2006, Warwickshire, Berlin
Subject:
Photography monographs
Photography monographs
Form:
books
books
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$31.50
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How exactly has San Francisco's urban landscape changed in the hundred years since the earthquake and cataclysmic firestorms that destroyed three-quarters of the city in 1906? For this rephotography project, bringing past and present into dynamic juxtaposition, photographer Mark Klett has gone to the same locations pictured in forty-five historic photographs taken in the(...)
$31.50
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Summary:
How exactly has San Francisco's urban landscape changed in the hundred years since the earthquake and cataclysmic firestorms that destroyed three-quarters of the city in 1906? For this rephotography project, bringing past and present into dynamic juxtaposition, photographer Mark Klett has gone to the same locations pictured in forty-five historic photographs taken in the(...)
Subject:
Photography monographs
Photography monographs
Publication:
March 2006, San Francisco
March 2006, San Francisco
Title:
After the ruins 1906 and 2006 : rephotographing the San Francisco earthquake and fire
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How exactly has San Francisco's urban landscape changed in the hundred years since the earthquake and cataclysmic firestorms that destroyed three-quarters of the city in 1906? For this rephotography project, bringing past and present into dynamic juxtaposition, photographer Mark Klett has gone to the same locations pictured in forty-five historic photographs taken in the days following the 1906 earthquake and fires and precisely duplicated each photograph's vantage point. The result is a comparison that challenges our preconceptions about time, history, and culture. This publication accompanies an exhibition at The Fine Arts Museums of San Francisco. After the Ruins, 1906 and 2006 features a vivid essay by noted environmental historian Philip Fradkin on the events surrounding and following the 1906 earthquake, which he describes as "the equivalent of an intensive, three-day bombing raid, complete with many tons of dynamite that acted as incendiary devices." A lyrical essay by acclaimed writer Rebecca Solnit considers the meaning of ruins, resurrection, and the evolving geography and history of San Francisco.
After the ruins 1906 and 2006 : rephotographing the San Francisco earthquake and fire
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$31.50
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Summary:
How exactly has San Francisco's urban landscape changed in the hundred years since the earthquake and cataclysmic firestorms that destroyed three-quarters of the city in 1906? For this rephotography project, bringing past and present into dynamic juxtaposition, photographer Mark Klett has gone to the same locations pictured in forty-five historic photographs taken in the days following the 1906 earthquake and fires and precisely duplicated each photograph's vantage point. The result is a comparison that challenges our preconceptions about time, history, and culture. This publication accompanies an exhibition at The Fine Arts Museums of San Francisco. After the Ruins, 1906 and 2006 features a vivid essay by noted environmental historian Philip Fradkin on the events surrounding and following the 1906 earthquake, which he describes as "the equivalent of an intensive, three-day bombing raid, complete with many tons of dynamite that acted as incendiary devices." A lyrical essay by acclaimed writer Rebecca Solnit considers the meaning of ruins, resurrection, and the evolving geography and history of San Francisco.
Form:
books
books
Publication:
March 2006, San Francisco
March 2006, San Francisco
Subject:
Photography monographs
Photography monographs
Form:
books
books
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$46.95
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Summary:
Rudy Burckhardt (1914 – 1999) came to New York in 1935 from his native Switzerland, making the American metropolis his home for the rest of his life. His street scenes now rank among the icons of twentieth-century photography. In the 1950s, he took portraits of artists for Art News, such as Willem de Kooning, Jackson Pollock, or Mark Rothko.
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Rudy Burckhardt (1914 – 1999) came to New York in 1935 from his native Switzerland, making the American metropolis his home for the rest of his life. His street scenes now rank among the icons of twentieth-century photography. In the 1950s, he took portraits of artists for Art News, such as Willem de Kooning, Jackson Pollock, or Mark Rothko.
Subject:
Photography monographs
Photography monographs
Publication:
December 2005, Zürich
December 2005, Zürich
Title:
Rudy Burckhardt : New York moments - photographs and films
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Rudy Burckhardt (1914 – 1999) came to New York in 1935 from his native Switzerland, making the American metropolis his home for the rest of his life. His street scenes now rank among the icons of twentieth-century photography. In the 1950s, he took portraits of artists for Art News, such as Willem de Kooning, Jackson Pollock, or Mark Rothko.
Rudy Burckhardt : New York moments - photographs and films
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Rudy Burckhardt (1914 – 1999) came to New York in 1935 from his native Switzerland, making the American metropolis his home for the rest of his life. His street scenes now rank among the icons of twentieth-century photography. In the 1950s, he took portraits of artists for Art News, such as Willem de Kooning, Jackson Pollock, or Mark Rothko.
Form:
books
books
Publication:
December 2005, Zürich
December 2005, Zürich
Subject:
Photography monographs
Photography monographs
