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En 1991, deux ans après la fin de la guerre civile, Gabriele Basilico participe à une mission photographique, consacrée au centre-ville de Beyrouth. Ce territoire, symbole de “l’âge d’or” et de la diversité du Liban, fut pendant près de quinze ans le théâtre de combats rapprochés. Les images montrent des bâtiments criblés d’impacts mais encore debout, comme des(...)
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En 1991, deux ans après la fin de la guerre civile, Gabriele Basilico participe à une mission photographique, consacrée au centre-ville de Beyrouth. Ce territoire, symbole de “l’âge d’or” et de la diversité du Liban, fut pendant près de quinze ans le théâtre de combats rapprochés. Les images montrent des bâtiments criblés d’impacts mais encore debout, comme des(...)
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Photography monographs
Photography monographs
Publication:
February 2004, Cherbourg
February 2004, Cherbourg
Title:
Gabriele Basilica : Beyrouth 1991 (2003)
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En 1991, deux ans après la fin de la guerre civile, Gabriele Basilico participe à une mission photographique, consacrée au centre-ville de Beyrouth. Ce territoire, symbole de “l’âge d’or” et de la diversité du Liban, fut pendant près de quinze ans le théâtre de combats rapprochés. Les images montrent des bâtiments criblés d’impacts mais encore debout, comme des squelettes, dans un temps suspendu qui n’est plus celui de la guerre et pas encore celui de la paix.Le livre se conclut par une série de photographies en vis-à-vis associant des images réalisées en 1991 et des vues correspondantes en 2003 du centre-ville reconstruit.
Gabriele Basilica : Beyrouth 1991 (2003)
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En 1991, deux ans après la fin de la guerre civile, Gabriele Basilico participe à une mission photographique, consacrée au centre-ville de Beyrouth. Ce territoire, symbole de “l’âge d’or” et de la diversité du Liban, fut pendant près de quinze ans le théâtre de combats rapprochés. Les images montrent des bâtiments criblés d’impacts mais encore debout, comme des squelettes, dans un temps suspendu qui n’est plus celui de la guerre et pas encore celui de la paix.Le livre se conclut par une série de photographies en vis-à-vis associant des images réalisées en 1991 et des vues correspondantes en 2003 du centre-ville reconstruit.
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books
books
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February 2004, Cherbourg
February 2004, Cherbourg
Subject:
Photography monographs
Photography monographs
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books
books
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New connoisseurs take the opportunities offered by the typically Dutch phenomenon of landscape being continuously adapted to changing demands, always with temporary leftovers awaiting their turn for utilitarian recycling. New ways of thinking about landscape design originate from this specialist landscape use. Bas Princen's arguments take the form of superb photography.(...)
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New connoisseurs take the opportunities offered by the typically Dutch phenomenon of landscape being continuously adapted to changing demands, always with temporary leftovers awaiting their turn for utilitarian recycling. New ways of thinking about landscape design originate from this specialist landscape use. Bas Princen's arguments take the form of superb photography.(...)
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Bas princen: Artificial Arcadia
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New connoisseurs take the opportunities offered by the typically Dutch phenomenon of landscape being continuously adapted to changing demands, always with temporary leftovers awaiting their turn for utilitarian recycling. New ways of thinking about landscape design originate from this specialist landscape use. Bas Princen's arguments take the form of superb photography. The pictures produce awareness about the complex qualities that construct contemporary landscape, such as accessibility, wind direction, water currents and communication networks. In addition the use of certain products, such as kites, mountain bikes and GPS monitors has a bearing on the way in which landscape is understood. Bas Princen enters these landscapes with the slowness, sharpness and precision of a large-format view camera. Although he has a keen eye for user interpretations and has produces over 40 awesome and puzzling pictures, "Artificial Arcadia" is mainly a book about landscape and its design. Texts by Lars Lerup, Bart Lootsma, Wim Cuyvers, Jeff Derksen and Dirk Sijmons reflect on the photographs and present different views on landscapes in transition.
Bas princen: Artificial Arcadia
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New connoisseurs take the opportunities offered by the typically Dutch phenomenon of landscape being continuously adapted to changing demands, always with temporary leftovers awaiting their turn for utilitarian recycling. New ways of thinking about landscape design originate from this specialist landscape use. Bas Princen's arguments take the form of superb photography. The pictures produce awareness about the complex qualities that construct contemporary landscape, such as accessibility, wind direction, water currents and communication networks. In addition the use of certain products, such as kites, mountain bikes and GPS monitors has a bearing on the way in which landscape is understood. Bas Princen enters these landscapes with the slowness, sharpness and precision of a large-format view camera. Although he has a keen eye for user interpretations and has produces over 40 awesome and puzzling pictures, "Artificial Arcadia" is mainly a book about landscape and its design. Texts by Lars Lerup, Bart Lootsma, Wim Cuyvers, Jeff Derksen and Dirk Sijmons reflect on the photographs and present different views on landscapes in transition.
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books
books
Publication:
May 2004, Rotterdam
May 2004, Rotterdam
Subject:
Photography monographs
Photography monographs
Form:
books
books
Title:
Thomas Ruff : machines
Thomas Ruff : machines
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For his most recent cycle of works, photographer-artist Thomas Ruff digitally manipulated glass negatives from the 1930s which he had found in the photo archive of a machine and tool factory. This elegantly bound publication presents his machine pictures for the first time in book form.
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For his most recent cycle of works, photographer-artist Thomas Ruff digitally manipulated glass negatives from the 1930s which he had found in the photo archive of a machine and tool factory. This elegantly bound publication presents his machine pictures for the first time in book form.
Subject:
Photography monographs
Photography monographs
Publication:
January 1900, Ostfildern
January 1900, Ostfildern
Title:
Thomas Ruff : machines
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For his most recent cycle of works, photographer-artist Thomas Ruff digitally manipulated glass negatives from the 1930s which he had found in the photo archive of a machine and tool factory. This elegantly bound publication presents his machine pictures for the first time in book form.
Thomas Ruff : machines
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For his most recent cycle of works, photographer-artist Thomas Ruff digitally manipulated glass negatives from the 1930s which he had found in the photo archive of a machine and tool factory. This elegantly bound publication presents his machine pictures for the first time in book form.
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books
books
Publication:
January 1900, Ostfildern
January 1900, Ostfildern
Subject:
Photography monographs
Photography monographs
Form:
books
books
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$58.95
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Dans Stèles, la Chine est ressentie d’abord comme le lieu d’un accord unique entre nature et civilisation. Le monumental et l’immémorial s’y confondent, tandis que l’humanité semble happée, invisible mais partout présente, par des forces qui l’excédent. La série mêle ainsi minéraux et végétaux, parfois gigantesques, parfois infimes, avec des paysages urbains où s’ouvrent(...)
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Dans Stèles, la Chine est ressentie d’abord comme le lieu d’un accord unique entre nature et civilisation. Le monumental et l’immémorial s’y confondent, tandis que l’humanité semble happée, invisible mais partout présente, par des forces qui l’excédent. La série mêle ainsi minéraux et végétaux, parfois gigantesques, parfois infimes, avec des paysages urbains où s’ouvrent(...)
Title:
Stèles
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Dans Stèles, la Chine est ressentie d’abord comme le lieu d’un accord unique entre nature et civilisation. Le monumental et l’immémorial s’y confondent, tandis que l’humanité semble happée, invisible mais partout présente, par des forces qui l’excédent. La série mêle ainsi minéraux et végétaux, parfois gigantesques, parfois infimes, avec des paysages urbains où s’ouvrent tunnels et portes, des lieux habités qui ignorent l’usage commun. Au fil des pages, des idéogrammes ou des tracés à la peinture apparaissent. Ils figurent avec évidence la cohérence d’une culture, et simultanément, pour la plupart d’entre nous, l’incapacité à en pénétrer le sens.
Stèles
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Dans Stèles, la Chine est ressentie d’abord comme le lieu d’un accord unique entre nature et civilisation. Le monumental et l’immémorial s’y confondent, tandis que l’humanité semble happée, invisible mais partout présente, par des forces qui l’excédent. La série mêle ainsi minéraux et végétaux, parfois gigantesques, parfois infimes, avec des paysages urbains où s’ouvrent tunnels et portes, des lieux habités qui ignorent l’usage commun. Au fil des pages, des idéogrammes ou des tracés à la peinture apparaissent. Ils figurent avec évidence la cohérence d’une culture, et simultanément, pour la plupart d’entre nous, l’incapacité à en pénétrer le sens.
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books
books
Publication:
April 2004, Paris
April 2004, Paris
Subject:
Photography monographs
Photography monographs
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books
books
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$59.95
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Les jardins parisiens de la Belle Epoque offrent aux trois frères Séeberger un cadre privilégié pour répondre à la commande d'un éditeur de cartes postales et pour mettre en scène, dans leurs photographies, l'espace social où se croisent familles élégantes et prolétaires. Décors et saynètes, soigneusement composés, traduisent le récent engouement du bourgeois pour(...)
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Les jardins parisiens de la Belle Epoque offrent aux trois frères Séeberger un cadre privilégié pour répondre à la commande d'un éditeur de cartes postales et pour mettre en scène, dans leurs photographies, l'espace social où se croisent familles élégantes et prolétaires. Décors et saynètes, soigneusement composés, traduisent le récent engouement du bourgeois pour(...)
Subject:
Photography monographs
Photography monographs
Publication:
March 2004, Paris
March 2004, Paris
Title:
Jardins parisiens à la Belle Époque
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Les jardins parisiens de la Belle Epoque offrent aux trois frères Séeberger un cadre privilégié pour répondre à la commande d'un éditeur de cartes postales et pour mettre en scène, dans leurs photographies, l'espace social où se croisent familles élégantes et prolétaires. Décors et saynètes, soigneusement composés, traduisent le récent engouement du bourgeois pour l'esthétique impressioniste et l'ambiance chère à l'univers proustien. Les Séeberger font ici également oeuvre documentaire en fixant sur la pellicule un état des récents travaux d'embellissement décidés par la ville. Introduction par Jean-Paul Brighelli. Iconographie rassemblée par Claude Malécot.
Jardins parisiens à la Belle Époque
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Les jardins parisiens de la Belle Epoque offrent aux trois frères Séeberger un cadre privilégié pour répondre à la commande d'un éditeur de cartes postales et pour mettre en scène, dans leurs photographies, l'espace social où se croisent familles élégantes et prolétaires. Décors et saynètes, soigneusement composés, traduisent le récent engouement du bourgeois pour l'esthétique impressioniste et l'ambiance chère à l'univers proustien. Les Séeberger font ici également oeuvre documentaire en fixant sur la pellicule un état des récents travaux d'embellissement décidés par la ville. Introduction par Jean-Paul Brighelli. Iconographie rassemblée par Claude Malécot.
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books
books
Publication:
March 2004, Paris
March 2004, Paris
Subject:
Photography monographs
Photography monographs
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books
books
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$39.95
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Depuis les années 80, Normand Rajotte a laissé la pratique de la photographie documentaire pour adopter, par le truchement du paysage, une démarche plus introspective axée sur la conscience de soi et notre rapport à la nature. Ce livre retrace les vingt dernières années du parcours de ce photographe d'exception. Un homme qui entretient un dialogue tout aussi étonnant que(...)
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Depuis les années 80, Normand Rajotte a laissé la pratique de la photographie documentaire pour adopter, par le truchement du paysage, une démarche plus introspective axée sur la conscience de soi et notre rapport à la nature. Ce livre retrace les vingt dernières années du parcours de ce photographe d'exception. Un homme qui entretient un dialogue tout aussi étonnant que(...)
Title:
Norman Rajotte : marcher sa trace, photographies 1983 - 2003
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Depuis les années 80, Normand Rajotte a laissé la pratique de la photographie documentaire pour adopter, par le truchement du paysage, une démarche plus introspective axée sur la conscience de soi et notre rapport à la nature. Ce livre retrace les vingt dernières années du parcours de ce photographe d'exception. Un homme qui entretient un dialogue tout aussi étonnant que soutenu avec la nature qu'il photographie. En introduction, la critique d'art Jennifer Couëlle nous présente le travail du photographe.
Norman Rajotte : marcher sa trace, photographies 1983 - 2003
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Depuis les années 80, Normand Rajotte a laissé la pratique de la photographie documentaire pour adopter, par le truchement du paysage, une démarche plus introspective axée sur la conscience de soi et notre rapport à la nature. Ce livre retrace les vingt dernières années du parcours de ce photographe d'exception. Un homme qui entretient un dialogue tout aussi étonnant que soutenu avec la nature qu'il photographie. En introduction, la critique d'art Jennifer Couëlle nous présente le travail du photographe.
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books
books
Publication:
February 2004, Montréal
February 2004, Montréal
Subject:
Photography monographs
Photography monographs
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books
books
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$85.00
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Lucien Hervé (b. 1910), one of the great architectural photographers of the twentieth century, collaborated with Le Corbusier from 1949 until the renowned architect died in 1965. Hervé approached his subjects seeking not only to document the buildings he was commissioned to photograph but also, especially, to convey a sense of space, texture, and structure. Through light(...)
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Lucien Hervé (b. 1910), one of the great architectural photographers of the twentieth century, collaborated with Le Corbusier from 1949 until the renowned architect died in 1965. Hervé approached his subjects seeking not only to document the buildings he was commissioned to photograph but also, especially, to convey a sense of space, texture, and structure. Through light(...)
Title:
Lucien Hervé : building images
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Lucien Hervé (b. 1910), one of the great architectural photographers of the twentieth century, collaborated with Le Corbusier from 1949 until the renowned architect died in 1965. Hervé approached his subjects seeking not only to document the buildings he was commissioned to photograph but also, especially, to convey a sense of space, texture, and structure. Through light and shadow, Hervé defined the dialogue between substance and form. By delineating a strong contrast between light and shadow as well as placing emphasis on building details, the photographer was able to communicate the depth of a room, the surface of a wall, or the strength of a building's framework.
Lucien Hervé : building images
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Lucien Hervé (b. 1910), one of the great architectural photographers of the twentieth century, collaborated with Le Corbusier from 1949 until the renowned architect died in 1965. Hervé approached his subjects seeking not only to document the buildings he was commissioned to photograph but also, especially, to convey a sense of space, texture, and structure. Through light and shadow, Hervé defined the dialogue between substance and form. By delineating a strong contrast between light and shadow as well as placing emphasis on building details, the photographer was able to communicate the depth of a room, the surface of a wall, or the strength of a building's framework.
Form:
books
books
Publication:
June 2004, Los Angeles
June 2004, Los Angeles
Subject:
Photography monographs
Photography monographs
Form:
books
books
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$16.95
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Summary:
James A. Ganz locates the photographs at a key moment in Baldus's career and during one of the most eventful decades in the history of French photography, showing that they stand at a crossroad between the English conversation piece and the birth of Impressionist portraiture in the early paintings of Monet and Bazille. Each of the images is scrutinized for the information(...)
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James A. Ganz locates the photographs at a key moment in Baldus's career and during one of the most eventful decades in the history of French photography, showing that they stand at a crossroad between the English conversation piece and the birth of Impressionist portraiture in the early paintings of Monet and Bazille. Each of the images is scrutinized for the information(...)
Title:
Edouard Baldus at the Château de La Faloise
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James A. Ganz locates the photographs at a key moment in Baldus's career and during one of the most eventful decades in the history of French photography, showing that they stand at a crossroad between the English conversation piece and the birth of Impressionist portraiture in the early paintings of Monet and Bazille. Each of the images is scrutinized for the information that it presents and withholds.
Edouard Baldus at the Château de La Faloise
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James A. Ganz locates the photographs at a key moment in Baldus's career and during one of the most eventful decades in the history of French photography, showing that they stand at a crossroad between the English conversation piece and the birth of Impressionist portraiture in the early paintings of Monet and Bazille. Each of the images is scrutinized for the information that it presents and withholds.
Form:
books
books
Publication:
March 2004, New Haven, London
March 2004, New Haven, London
Subject:
Photography monographs
Photography monographs
Form:
books
books
Title:
Hannah Höch album
Hannah Höch album
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$91.00
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As one of the protagonists of the Berlin Dada movement, Hannah Höch railed against tradition and conservatism in 1920s Germany. Höch and such cohorts as George Grosz and Raoul Hausmann raised anarchic revolution through cutting photomontage, nonsensical performance, and biting visual satire. A singular and important work in the artist's oeuvre is the so-called(...)
$91.00
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As one of the protagonists of the Berlin Dada movement, Hannah Höch railed against tradition and conservatism in 1920s Germany. Höch and such cohorts as George Grosz and Raoul Hausmann raised anarchic revolution through cutting photomontage, nonsensical performance, and biting visual satire. A singular and important work in the artist's oeuvre is the so-called(...)
Title:
Hannah Höch album
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$91.00
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As one of the protagonists of the Berlin Dada movement, Hannah Höch railed against tradition and conservatism in 1920s Germany. Höch and such cohorts as George Grosz and Raoul Hausmann raised anarchic revolution through cutting photomontage, nonsensical performance, and biting visual satire. A singular and important work in the artist's oeuvre is the so-called "Sammelalbum," which she produced and pasted together from found imagery for her own pleasure and use, circa 1933. In it, she arranged a choice selection of newspaper and magazine photographs cut from popular German magazines of the time, such as the Berliner Illustrirte and Der Dame. A diverse, allusive group of images they are, representing everything from her favorite film stars to oddly captured animals and toy dolls, nudes, landscapes, scenic travel vistas, and synchronized dancers. By combining the collected pictures in continuous and sometimes contradictory sequences and double-page spreads, Höch created startling and often jarring photo collages. Never before published, Album can be considered to represent a heretofore unknown aspect of Höch's work, since its style of collage differs strongly from her well-known photomontages. This publication presents the entire Album in an exquisite facsimile reproduction, maintaining the filmic quality of its order and layout. In an accompanying essay, Gunda Luyken considers the content and history of the Album, locating it in the wider context of Höch’s oeuvre.
Hannah Höch album
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$91.00
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As one of the protagonists of the Berlin Dada movement, Hannah Höch railed against tradition and conservatism in 1920s Germany. Höch and such cohorts as George Grosz and Raoul Hausmann raised anarchic revolution through cutting photomontage, nonsensical performance, and biting visual satire. A singular and important work in the artist's oeuvre is the so-called "Sammelalbum," which she produced and pasted together from found imagery for her own pleasure and use, circa 1933. In it, she arranged a choice selection of newspaper and magazine photographs cut from popular German magazines of the time, such as the Berliner Illustrirte and Der Dame. A diverse, allusive group of images they are, representing everything from her favorite film stars to oddly captured animals and toy dolls, nudes, landscapes, scenic travel vistas, and synchronized dancers. By combining the collected pictures in continuous and sometimes contradictory sequences and double-page spreads, Höch created startling and often jarring photo collages. Never before published, Album can be considered to represent a heretofore unknown aspect of Höch's work, since its style of collage differs strongly from her well-known photomontages. This publication presents the entire Album in an exquisite facsimile reproduction, maintaining the filmic quality of its order and layout. In an accompanying essay, Gunda Luyken considers the content and history of the Album, locating it in the wider context of Höch’s oeuvre.
Form:
books
books
Publication:
February 2004, Ostfildern
February 2004, Ostfildern
Subject:
Photography monographs
Photography monographs
Form:
books
books
Title:
Matsumura Akira 2000-2002
Matsumura Akira 2000-2002
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$67.95
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Limited edition of 1000
$67.95
(available in store)
Summary:
Limited edition of 1000
Title:
Matsumura Akira 2000-2002
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$67.95
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Summary:
Limited edition of 1000
Matsumura Akira 2000-2002
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Price:
$67.95
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Summary:
Limited edition of 1000
Form:
books
books
Publication:
November 2003
November 2003
Subject:
Photography monographs
Photography monographs
