Chroma: John Divola
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''Chroma'' is the name Californian artist John Divola has given to a large body of work made in the early 1980s that brought together a number of his interests – unnatural color (from gels covering his flash); geometry and nature; and the way photographs slip between symbolic meanings and actuality. At the same time, Divola was switching from color negative that he was(...)
Chroma: John Divola
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''Chroma'' is the name Californian artist John Divola has given to a large body of work made in the early 1980s that brought together a number of his interests – unnatural color (from gels covering his flash); geometry and nature; and the way photographs slip between symbolic meanings and actuality. At the same time, Divola was switching from color negative that he was using for Zuma to large format color transparency. He became aware that the early C-type color prints faded badly and was trying to use a new, more stable material. This was Cibachrome, which printed from transparencies. It was very industrial and artificial, with deep color saturation and contrast. It was a very flawed material for conventional images but with unique properties that he ended up embracing for the Chroma images. Edition of 800 copies.
Photography monographs
Stickybeak: Julie Cockburn
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''Stickybeak'' is Julie Cockburn’s first comprehensive monograph. The book coincides with Cockburn’s solo show ''Telling it slant'' at Flowers Gallery in London, UK (12 September-2 November 2019). ''The works in this book were made over a period of twelve years, some one-off experiments, others part of ongoing series that I add to over time. Each piece began with the(...)
Stickybeak: Julie Cockburn
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''Stickybeak'' is Julie Cockburn’s first comprehensive monograph. The book coincides with Cockburn’s solo show ''Telling it slant'' at Flowers Gallery in London, UK (12 September-2 November 2019). ''The works in this book were made over a period of twelve years, some one-off experiments, others part of ongoing series that I add to over time. Each piece began with the search for the perfect image, setting some vaguely rigorous parameters for myself. I selected used postcards, old photographs, foxed bookplates and my own childhood drawings. And each of these foundlings had a different history, an unknown or forgotten story to tell. By submitting to my interventions, they transformed from silent, redundant, orphans into material objects with a regenerated heartbeat.'' -JC
Photography monographs
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Unpublished photographs taken by Josef Albers during his travels to Mexico with Anni in the 1930s and 50s. Josef and Anni Albers began their travels to Mexico in 1935, drawn to a country very unlike the United States. They were not in search of the exotic but rather of the traces of ancient pre-Colombian civilisations (the Mayans and the Aztecs) and testimonies of the(...)
Photography monographs
March 2021
Messico 1935/1956: Josef Albers
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Unpublished photographs taken by Josef Albers during his travels to Mexico with Anni in the 1930s and 50s. Josef and Anni Albers began their travels to Mexico in 1935, drawn to a country very unlike the United States. They were not in search of the exotic but rather of the traces of ancient pre-Colombian civilisations (the Mayans and the Aztecs) and testimonies of the everyday lives of a population that was very poor yet full of vitality. Dressed in dark colours and donning a large black hat, Albers was a non-professional photographer with the gaze of an architect, as may be noted from the great sense of composition and the search for geometries which he digs out even from the millenary archaeological findings. These photographs have never previously been published in Italy, and contribute to depicting the figure of one of the greatest innovators of the art and culture of the twentieth century, who to this day still has a lot to teach us. The volume also features an introduction by Brenda Danilowitz, curator and head of the Josef and Anni Albers Foundation, as well as an essay by Luca Galofaro, architect (LSGMA) and curator (CAMPO, Rome).
Photography monographs
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In 'The Intimacy of Making', London-based Swiss-French photographer Hélène Binet takes us on a visual journey through a world of stone, walls and gardens to depict and celebrate the Korean art of making, and to discover traditional Korean architecture through a Western lens. In Binet’s photographs, which were taken over the course of the last three years, we encounter(...)
Photography monographs
March 2021
The intimacy of making: three historical sites in Korea
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In 'The Intimacy of Making', London-based Swiss-French photographer Hélène Binet takes us on a visual journey through a world of stone, walls and gardens to depict and celebrate the Korean art of making, and to discover traditional Korean architecture through a Western lens. In Binet’s photographs, which were taken over the course of the last three years, we encounter three typologies of traditional architecture in South Korea: the Confucian school and sacred site of Byeongsan Seowon; the garden and tea house Soswaewon; and the Jongmyo shrine. Her camera unites the natural surrounds and the built structures to convey the atmosphere of these three sites.
Photography monographs
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'NOWHERE' shows a world in which Instagrammability is first and foremost, in which the new reality is dictated by the seductive image that may (later) be made from it. Architecture, design, and urban landscape are directed by the mechanisms of global big business, and the same antiseptic beauty exists all over the world. 'NOWHERE—Imagining the Global City' presents the(...)
Frank van der Salm: Nowhere: imagining the global city
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'NOWHERE' shows a world in which Instagrammability is first and foremost, in which the new reality is dictated by the seductive image that may (later) be made from it. Architecture, design, and urban landscape are directed by the mechanisms of global big business, and the same antiseptic beauty exists all over the world. 'NOWHERE—Imagining the Global City' presents the work of Dutch photographer Frank van der Salm from the past twenty-five years. Designed by Irma Boom, the book shows a consumer-oriented, imaginary metropolis. Images, sometimes deliberately upside down, challenge the reality they represent. Seen together they form the image of a city that suddenly seems to be simultaneously everywhere and nowhere: both here and now and nowhere. The essays by Shumon Basar, Aaron Betsky, and Urs Stahel link Frank van der Salm’s oeuvre to the world of design, architecture, urban development, art, and photography.
Photography monographs
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This book presents 27 years of Deanna Dikeman photographing her parents waving goodbye as she left their home after a visit. Just as she was driving away, Dikeman invariably pointed her camera at her parents. What started with a candid snapshot in 1991 turned into a ritual over the years. The book chronicles their farewells as seasons change and years go by, separating(...)
Deanna Dikeman: Leaving and waving
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This book presents 27 years of Deanna Dikeman photographing her parents waving goodbye as she left their home after a visit. Just as she was driving away, Dikeman invariably pointed her camera at her parents. What started with a candid snapshot in 1991 turned into a ritual over the years. The book chronicles their farewells as seasons change and years go by, separating black and white photographs from colour photographs. "Leaving and waving" — which was originally part of a larger body of work entitled "Relative moments" — is a heartfelt exploration of family, the passage of time and the sadness of leaving.
Photography monographs
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Le cinquième numéro de 'Transbordeur' explorera l’histoire des relations entre photographie et design du XIXe au XXIe siècle. Différentes thématiques seront abordées : la photographie du design et le rôle de la photographie dans les publications liées à ce champ; les relations entre photographes et designers, notamment l’apprentissage de la photographie dans les écoles de(...)
March 2021
Transbordeur, no 05 : photographie et design
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Le cinquième numéro de 'Transbordeur' explorera l’histoire des relations entre photographie et design du XIXe au XXIe siècle. Différentes thématiques seront abordées : la photographie du design et le rôle de la photographie dans les publications liées à ce champ; les relations entre photographes et designers, notamment l’apprentissage de la photographie dans les écoles de design; la photographie comme matériau pour le design et les usages de la photographie parles designers (collecte visuelle, expérimentations, réflexion sur le projet, exposition, archives et publicité); enfin, l’introduction du design dans la photographie et notamment dans le domaine des appareils photographiques. Ouverture sur des champs de recherche encore peu explorés, ce numéro voudrait avant tout esquisser une histoire croisée de la photographie et du design sur le temps long.
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'Double Orbit' invites us into a compact world of ambiguous signs, secret passages and seemingly haunted premises. Exploring the peripheries of large western metropolises, Grégoire Pujade-Lauraine's photographs study the built environments that harbour and shape human life, revealing the cryptic symbols etched across their surfaces and embedded in their shadows. The(...)
Double orbit: Grégoire Pujade-Lauraine
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'Double Orbit' invites us into a compact world of ambiguous signs, secret passages and seemingly haunted premises. Exploring the peripheries of large western metropolises, Grégoire Pujade-Lauraine's photographs study the built environments that harbour and shape human life, revealing the cryptic symbols etched across their surfaces and embedded in their shadows. The looming forms defy easy categorisation and disconcerting cyphers periodically emerge from a lingering dusk; an oversized key, a black concrete moon, or the illusion of a limitless temple.
Photography monographs
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"A mathematician, like a painter or poet, is a maker of patterns," wrote the British mathematician G. H. Hardy. In "Do not erase," photographer Jessica Wynne presents remarkable examples of this idea through images of mathematicians’ chalkboards. While other fields have replaced chalkboards with whiteboards and digital presentations, mathematicians remain loyal to chalk(...)
Do not erase: mathematicians and their chalkboards
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"A mathematician, like a painter or poet, is a maker of patterns," wrote the British mathematician G. H. Hardy. In "Do not erase," photographer Jessica Wynne presents remarkable examples of this idea through images of mathematicians’ chalkboards. While other fields have replaced chalkboards with whiteboards and digital presentations, mathematicians remain loyal to chalk for puzzling out their ideas and communicating their research. Wynne offers more than one hundred photographs of these chalkboards, gathered from a diverse group of mathematicians around the world. The photographs are accompanied by essays from each mathematician, reflecting on their work and processes. Together, pictures and words provide an illuminating meditation on the unique relationships among mathematics, art, and creativity. The mathematicians featured in this collection comprise exciting new voices alongside established figures, including Sun-Yung Alice Chang, Alain Connes, Misha Gromov, Andre Neves, Kasso Okoudjou, Peter Shor, Christina Sormani, Terence Tao, Claire Voisin, and many others. The companion essays give insights into how the chalkboard serves as a special medium for mathematical expression. The volume also includes an introduction by the author, an afterword by New Yorker writer Alec Wilkinson, and biographical information for each contributor. "Do not erase" is a testament to the myriad ways that mathematicians use their chalkboards to reveal the conceptual and visual beauty of their discipline- shapes, figures, formulas, and conjectures created through imagination, argument, and speculation.
Photography monographs
Grammaire de formes
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Trois photographes ont porté leur regard sur la ville de Saint-Etienne : l´investigation qu´ils ont conduite s´est focalisée sur la syntaxe et la morphologie du bâti tel qu´il peut être observé dans la cité. Rien de « normatif » donc dans cette « grammaire de formes ». Il s´agissait bien au contraire de prendre en considération la variété même des gestes d´aménagement(...)
Photography monographs
April 2021
Grammaire de formes
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Trois photographes ont porté leur regard sur la ville de Saint-Etienne : l´investigation qu´ils ont conduite s´est focalisée sur la syntaxe et la morphologie du bâti tel qu´il peut être observé dans la cité. Rien de « normatif » donc dans cette « grammaire de formes ». Il s´agissait bien au contraire de prendre en considération la variété même des gestes d´aménagement susceptibles d´être décelés au sein de la ville. Celle-ci porte de fait la marque de grands projets planifiés aux effets structurants (dont la mise en place s´est échelonnée dans le temps), mais aussi d´interventions moins concertées découlant des effets du libéralisme, de phénomènes de retrait ou d´abandon liés à la récession économique, ou encore d´initiatives individuelles de faible empan, le plus souvent effectuées avec des moyens rudimentaires. Toutes ces actions d´aménagement, dans leur diversité même, entrent de plein droit dans la « grammaire » de la ville de Saint-Étienne - dont on ne peut que constater la variété.
Photography monographs