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Une (contre-)histoire de la photographie au travers de ses accidents : un ouvrage clé pour la théorie de la photographie et plus généralement pour la théorie des images et des médias.
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Une (contre-)histoire de la photographie au travers de ses accidents : un ouvrage clé pour la théorie de la photographie et plus généralement pour la théorie des images et des médias.
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Images par accident : une histoire des surgissements photographiques
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Une (contre-)histoire de la photographie au travers de ses accidents : un ouvrage clé pour la théorie de la photographie et plus généralement pour la théorie des images et des médias.
Images par accident : une histoire des surgissements photographiques
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Une (contre-)histoire de la photographie au travers de ses accidents : un ouvrage clé pour la théorie de la photographie et plus généralement pour la théorie des images et des médias.
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books
books
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October 2018
October 2018
Subject:
Theory of Photography
Theory of Photography
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books
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"The critical eye" provides a comprehensive approach to the critical understanding of photography through an in-depth discussion of fifteen photographs and their contexts—historical, generic, biographical, and aesthetic. Lyle Rexer argues that by concentrating on just a few carefully chosen works it is possible to understand the history, development, and contemporary(...)
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"The critical eye" provides a comprehensive approach to the critical understanding of photography through an in-depth discussion of fifteen photographs and their contexts—historical, generic, biographical, and aesthetic. Lyle Rexer argues that by concentrating on just a few carefully chosen works it is possible to understand the history, development, and contemporary(...)
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The critical eye: fifteen pictures to understand photography
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"The critical eye" provides a comprehensive approach to the critical understanding of photography through an in-depth discussion of fifteen photographs and their contexts—historical, generic, biographical, and aesthetic. Lyle Rexer argues that by concentrating on just a few carefully chosen works it is possible to understand the history, development, and contemporary situation of photography. Looking at images by photographers such as Roland Fischer, Myoung Ho Lee, Zanele Muholi, and Ernest Cole, "The critical eye" addresses a wide range of issues involved in photography, from authorial self-consciousness to the role of the audience, and with every chapter it seeks to link the history of photography to current practice.
The critical eye: fifteen pictures to understand photography
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"The critical eye" provides a comprehensive approach to the critical understanding of photography through an in-depth discussion of fifteen photographs and their contexts—historical, generic, biographical, and aesthetic. Lyle Rexer argues that by concentrating on just a few carefully chosen works it is possible to understand the history, development, and contemporary situation of photography. Looking at images by photographers such as Roland Fischer, Myoung Ho Lee, Zanele Muholi, and Ernest Cole, "The critical eye" addresses a wide range of issues involved in photography, from authorial self-consciousness to the role of the audience, and with every chapter it seeks to link the history of photography to current practice.
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books
books
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December 2019
December 2019
Subject:
Theory of Photography
Theory of Photography
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books
books
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$49.95
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Showing how the still life has been renewed by recent developments in photography, ''Obstinacy of things'' includes work by Moyra Davey, Tacita Dean, Harun Farocki, Hans-Peter Feldmann, Annette Kelm, Elad Lassry, Zoe Leonard, Laura Letinsky, Sharon Lockhart, Barbara Probst, Lucie Stahl, Andrzej Steinbach, Ingeborg Strobl, James Welling and Christopher Williams, among others.
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Showing how the still life has been renewed by recent developments in photography, ''Obstinacy of things'' includes work by Moyra Davey, Tacita Dean, Harun Farocki, Hans-Peter Feldmann, Annette Kelm, Elad Lassry, Zoe Leonard, Laura Letinsky, Sharon Lockhart, Barbara Probst, Lucie Stahl, Andrzej Steinbach, Ingeborg Strobl, James Welling and Christopher Williams, among others.
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Obstinacy of things: still life in photographic concepts of the present
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Showing how the still life has been renewed by recent developments in photography, ''Obstinacy of things'' includes work by Moyra Davey, Tacita Dean, Harun Farocki, Hans-Peter Feldmann, Annette Kelm, Elad Lassry, Zoe Leonard, Laura Letinsky, Sharon Lockhart, Barbara Probst, Lucie Stahl, Andrzej Steinbach, Ingeborg Strobl, James Welling and Christopher Williams, among others.
Obstinacy of things: still life in photographic concepts of the present
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Showing how the still life has been renewed by recent developments in photography, ''Obstinacy of things'' includes work by Moyra Davey, Tacita Dean, Harun Farocki, Hans-Peter Feldmann, Annette Kelm, Elad Lassry, Zoe Leonard, Laura Letinsky, Sharon Lockhart, Barbara Probst, Lucie Stahl, Andrzej Steinbach, Ingeborg Strobl, James Welling and Christopher Williams, among others.
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books
books
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February 2019
February 2019
Subject:
Theory of Photography
Theory of Photography
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books
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$34.95
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Accompanied by a selection of some of David Goldblatt’s (1930–2018) lesser-known photographs, this distilled dialogue is drawn directly from the recordings of a roving conversation with the photographer conducted three months before his death in June 2018. Goldblatt was born in Randfontein—a mining town on the Witwatersrand gold reef—in 1930, the grandson of(...)
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Accompanied by a selection of some of David Goldblatt’s (1930–2018) lesser-known photographs, this distilled dialogue is drawn directly from the recordings of a roving conversation with the photographer conducted three months before his death in June 2018. Goldblatt was born in Randfontein—a mining town on the Witwatersrand gold reef—in 1930, the grandson of(...)
Title:
David Goldblatt: the last interview
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Accompanied by a selection of some of David Goldblatt’s (1930–2018) lesser-known photographs, this distilled dialogue is drawn directly from the recordings of a roving conversation with the photographer conducted three months before his death in June 2018. Goldblatt was born in Randfontein—a mining town on the Witwatersrand gold reef—in 1930, the grandson of Lithuanian-Jewish migrants who settled in South Africa after escaping persecution in Europe. After the death of his father in 1962, Goldblatt sold the family clothing business to become a full-time photographer. In this candid conversation with writer Alexandra Dodd, Goldblatt shares his views about land and landscape, the dangerous lure of repetition in portrait photography, Johannesburg, the solipsism of life as a photographer, staying sharp, his visceral intolerance of censorship, his abiding interest in structures and his observation of instances of dominion under democracy, among other key themes.
David Goldblatt: the last interview
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Accompanied by a selection of some of David Goldblatt’s (1930–2018) lesser-known photographs, this distilled dialogue is drawn directly from the recordings of a roving conversation with the photographer conducted three months before his death in June 2018. Goldblatt was born in Randfontein—a mining town on the Witwatersrand gold reef—in 1930, the grandson of Lithuanian-Jewish migrants who settled in South Africa after escaping persecution in Europe. After the death of his father in 1962, Goldblatt sold the family clothing business to become a full-time photographer. In this candid conversation with writer Alexandra Dodd, Goldblatt shares his views about land and landscape, the dangerous lure of repetition in portrait photography, Johannesburg, the solipsism of life as a photographer, staying sharp, his visceral intolerance of censorship, his abiding interest in structures and his observation of instances of dominion under democracy, among other key themes.
Form:
books
books
Publication:
November 2019
November 2019
Subject:
Theory of Photography
Theory of Photography
Form:
books
books
Title:
Photography performing humor
Photography performing humor
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Despite the ubiquitous presence of photographic humor in art and popular media, the phenomenon has as yet received very little scholarly attention. Focusing on staged humor rather than on comic effects of snapshot photography, this volume brings together leading scholars in the field addressing humor preformed in front of the camera, often specifically created for the(...)
$82.50
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Summary:
Despite the ubiquitous presence of photographic humor in art and popular media, the phenomenon has as yet received very little scholarly attention. Focusing on staged humor rather than on comic effects of snapshot photography, this volume brings together leading scholars in the field addressing humor preformed in front of the camera, often specifically created for the(...)
Title:
Photography performing humor
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Despite the ubiquitous presence of photographic humor in art and popular media, the phenomenon has as yet received very little scholarly attention. Focusing on staged humor rather than on comic effects of snapshot photography, this volume brings together leading scholars in the field addressing humor preformed in front of the camera, often specifically created for the camera, and the preformative joke-work done by the medium itself. A first section explores how photography, due to its 'shattering' qualities, turns into a privileged medium for eliciting humorous effects and how humor can be discerned within the photographic event. A second section discusses the toolbox of photographic trickery (photomontage, double exposure and cinematic movement) that allows photography to mock itself. The book closes with a section on photographic wit in conceptual art, both in canonized and more locally distinct practices.
Photography performing humor
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Summary:
Despite the ubiquitous presence of photographic humor in art and popular media, the phenomenon has as yet received very little scholarly attention. Focusing on staged humor rather than on comic effects of snapshot photography, this volume brings together leading scholars in the field addressing humor preformed in front of the camera, often specifically created for the camera, and the preformative joke-work done by the medium itself. A first section explores how photography, due to its 'shattering' qualities, turns into a privileged medium for eliciting humorous effects and how humor can be discerned within the photographic event. A second section discusses the toolbox of photographic trickery (photomontage, double exposure and cinematic movement) that allows photography to mock itself. The book closes with a section on photographic wit in conceptual art, both in canonized and more locally distinct practices.
Form:
books
books
Publication:
July 2019
July 2019
Subject:
Theory of Photography
Theory of Photography
Form:
books
books
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$57.95
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"Transbordeur" est une revue d’histoire de la photographie. Elle s’adresse à tous ceux qui sont intéressés par les images, leur histoire, leur sociologie, leur évolution technique, leurs significations et matérialités multiples, leur rapport au temps et à l’histoire, leur circulation ; à tous ceux qui veulent comprendre le monde contemporain à travers l’histoire de la(...)
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"Transbordeur" est une revue d’histoire de la photographie. Elle s’adresse à tous ceux qui sont intéressés par les images, leur histoire, leur sociologie, leur évolution technique, leurs significations et matérialités multiples, leur rapport au temps et à l’histoire, leur circulation ; à tous ceux qui veulent comprendre le monde contemporain à travers l’histoire de la(...)
Title:
Transbordeur photographie no. 1
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"Transbordeur" est une revue d’histoire de la photographie. Elle s’adresse à tous ceux qui sont intéressés par les images, leur histoire, leur sociologie, leur évolution technique, leurs significations et matérialités multiples, leur rapport au temps et à l’histoire, leur circulation ; à tous ceux qui veulent comprendre le monde contemporain à travers l’histoire de la culture ; à tous ceux qui jettent un regard critique et curieux sur les phénomènes visuels qui les entourent. Plutôt que d’approcher la photographie d’un point de vue strictement esthétique, la revue "Transbordeur" a pour ambition de montrer sa place dans toutes les activités de la société, d’analyser comment elle a transformé en profondeur notre rapport au monde.
Transbordeur photographie no. 1
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"Transbordeur" est une revue d’histoire de la photographie. Elle s’adresse à tous ceux qui sont intéressés par les images, leur histoire, leur sociologie, leur évolution technique, leurs significations et matérialités multiples, leur rapport au temps et à l’histoire, leur circulation ; à tous ceux qui veulent comprendre le monde contemporain à travers l’histoire de la culture ; à tous ceux qui jettent un regard critique et curieux sur les phénomènes visuels qui les entourent. Plutôt que d’approcher la photographie d’un point de vue strictement esthétique, la revue "Transbordeur" a pour ambition de montrer sa place dans toutes les activités de la société, d’analyser comment elle a transformé en profondeur notre rapport au monde.
Form:
books
books
Publication:
March 2017
March 2017
Subject:
Theory of Photography
Theory of Photography
Form:
books
books
Title:
Transbordeur, no. 3
Transbordeur, no. 3
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Durant plusieurs décennies et avant l’avènement de l’électronique, la photographie a suscité les espoirs d’une relève du papier comme support d’accumulation et de diffusion du savoir. Dans ce mouvement d’accélération et d’automatisation de sa diffusion, la photographie a été amenée à dépasser l’opération élémentaire d’enregistrement mimétique du monde pour devenir un(...)
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Summary:
Durant plusieurs décennies et avant l’avènement de l’électronique, la photographie a suscité les espoirs d’une relève du papier comme support d’accumulation et de diffusion du savoir. Dans ce mouvement d’accélération et d’automatisation de sa diffusion, la photographie a été amenée à dépasser l’opération élémentaire d’enregistrement mimétique du monde pour devenir un(...)
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Transbordeur, no. 3
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Durant plusieurs décennies et avant l’avènement de l’électronique, la photographie a suscité les espoirs d’une relève du papier comme support d’accumulation et de diffusion du savoir. Dans ce mouvement d’accélération et d’automatisation de sa diffusion, la photographie a été amenée à dépasser l’opération élémentaire d’enregistrement mimétique du monde pour devenir un médium hybride englobant à la fois l’enregistrement de l’image et le traitement des données relatives à celle-ci. Son statut s’en est trouvé profondément redéfini : de surface servant de support matériel à l’image latente, la photographie est devenue interface à travers laquelle cette même image se trouve non seulement fixée, mais encore augmentée de toutes sortes de renseignements – chronologiques, géographiques, techniques – qui lui permettent de se donner à voir comme information. Revenir sur son histoire oubliée, « chaînon manquant » entre l’ère du livre et la culture numérique, s’avère essentiel pour saisir les fondements de la « société de l’information » contemporaine et des digital humanities.
Transbordeur, no. 3
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Durant plusieurs décennies et avant l’avènement de l’électronique, la photographie a suscité les espoirs d’une relève du papier comme support d’accumulation et de diffusion du savoir. Dans ce mouvement d’accélération et d’automatisation de sa diffusion, la photographie a été amenée à dépasser l’opération élémentaire d’enregistrement mimétique du monde pour devenir un médium hybride englobant à la fois l’enregistrement de l’image et le traitement des données relatives à celle-ci. Son statut s’en est trouvé profondément redéfini : de surface servant de support matériel à l’image latente, la photographie est devenue interface à travers laquelle cette même image se trouve non seulement fixée, mais encore augmentée de toutes sortes de renseignements – chronologiques, géographiques, techniques – qui lui permettent de se donner à voir comme information. Revenir sur son histoire oubliée, « chaînon manquant » entre l’ère du livre et la culture numérique, s’avère essentiel pour saisir les fondements de la « société de l’information » contemporaine et des digital humanities.
Form:
books
books
Publication:
March 2019
March 2019
Subject:
Theory of Photography
Theory of Photography
Form:
books
books
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$49.95
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Summary:
The ruins of war have long held the power to stupefy and appall. Can such ruins ever be persuasively depicted and comprehended? Can images of them force us to identify with the suffering of the enemy and raise uncomfortable questions about forgiveness and revenge? Françoise Meltzer explores those questions in Dark Lens, which uses the images of war ruins in Nazi(...)
$49.95
(available to order)
Summary:
The ruins of war have long held the power to stupefy and appall. Can such ruins ever be persuasively depicted and comprehended? Can images of them force us to identify with the suffering of the enemy and raise uncomfortable questions about forgiveness and revenge? Françoise Meltzer explores those questions in Dark Lens, which uses the images of war ruins in Nazi(...)
Title:
Dark lens: imaging Germany, 1945
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The ruins of war have long held the power to stupefy and appall. Can such ruins ever be persuasively depicted and comprehended? Can images of them force us to identify with the suffering of the enemy and raise uncomfortable questions about forgiveness and revenge? Françoise Meltzer explores those questions in Dark Lens, which uses the images of war ruins in Nazi Germany to investigate problems of aestheticization, the representation of catastrophe, and the targeting of civilians in war. Through texts that give accounts of bombed-out towns in Germany in the last years of the war, painters’ attempts to depict the destruction, and her own mother’s photographs taken in Berlin and other cities in 1945, Meltzer asks if any medium offers a direct experience of war ruins for the viewer. Ultimately, she concludes that while the viewer cannot help reimaging the devastation through the lenses of history, aestheticization, or voyeurism, these images at least allow us to approach the reality of ruins and grasp the larger issue of targeting civilians in modern warfare for what it is.
Dark lens: imaging Germany, 1945
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$49.95
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Summary:
The ruins of war have long held the power to stupefy and appall. Can such ruins ever be persuasively depicted and comprehended? Can images of them force us to identify with the suffering of the enemy and raise uncomfortable questions about forgiveness and revenge? Françoise Meltzer explores those questions in Dark Lens, which uses the images of war ruins in Nazi Germany to investigate problems of aestheticization, the representation of catastrophe, and the targeting of civilians in war. Through texts that give accounts of bombed-out towns in Germany in the last years of the war, painters’ attempts to depict the destruction, and her own mother’s photographs taken in Berlin and other cities in 1945, Meltzer asks if any medium offers a direct experience of war ruins for the viewer. Ultimately, she concludes that while the viewer cannot help reimaging the devastation through the lenses of history, aestheticization, or voyeurism, these images at least allow us to approach the reality of ruins and grasp the larger issue of targeting civilians in modern warfare for what it is.
Form:
books
books
Publication:
September 2019
September 2019
Subject:
Theory of Photography
Theory of Photography
Form:
books
books
Title:
Photography and war
Photography and war
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There are countless books on war photography, most of them focusing on dramatic images made by photojournalists in combat zones. "Photography and War" instead proposes a radically expanded notion of war photography, one that encompasses a far broader terrain of geographies, chronologies, practices, and viewpoints. Pippa Oldfied considers photography’s fundamental role in(...)
$48.00
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Summary:
There are countless books on war photography, most of them focusing on dramatic images made by photojournalists in combat zones. "Photography and War" instead proposes a radically expanded notion of war photography, one that encompasses a far broader terrain of geographies, chronologies, practices, and viewpoints. Pippa Oldfied considers photography’s fundamental role in(...)
Title:
Photography and war
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There are countless books on war photography, most of them focusing on dramatic images made by photojournalists in combat zones. "Photography and War" instead proposes a radically expanded notion of war photography, one that encompasses a far broader terrain of geographies, chronologies, practices, and viewpoints. Pippa Oldfied considers photography’s fundamental role in military reconnaissance, propaganda, and protest, as well as the exposure of war crimes and the memorialization of war, among other themes. While iconic images by well-known names such as Roger Fenton and Robert Capa are included, the viewpoints of people who have historically been overlooked—women and photographers from diasporic and non-Western backgrounds—are significantly gathered here. As a result, this book offers a nuanced and more inclusive understanding of war as a far-reaching undertaking in which anyone might be implicated and affected.
Photography and war
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Summary:
There are countless books on war photography, most of them focusing on dramatic images made by photojournalists in combat zones. "Photography and War" instead proposes a radically expanded notion of war photography, one that encompasses a far broader terrain of geographies, chronologies, practices, and viewpoints. Pippa Oldfied considers photography’s fundamental role in military reconnaissance, propaganda, and protest, as well as the exposure of war crimes and the memorialization of war, among other themes. While iconic images by well-known names such as Roger Fenton and Robert Capa are included, the viewpoints of people who have historically been overlooked—women and photographers from diasporic and non-Western backgrounds—are significantly gathered here. As a result, this book offers a nuanced and more inclusive understanding of war as a far-reaching undertaking in which anyone might be implicated and affected.
Form:
books
books
Publication:
December 2019
December 2019
Subject:
Theory of Photography
Theory of Photography
Form:
books
books
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$31.95
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''After the crisis'' offers a platform for discussions between some of today’s leading artists, writers, theorists, curators, and historians aimed at questioning the very status of photography today. Contributors come from the realms of critical theory, fiction, performance art, fashion photography, and museums, as well as film and design, and their conversations bring(...)
$31.95
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''After the crisis'' offers a platform for discussions between some of today’s leading artists, writers, theorists, curators, and historians aimed at questioning the very status of photography today. Contributors come from the realms of critical theory, fiction, performance art, fashion photography, and museums, as well as film and design, and their conversations bring(...)
Title:
After the crisis: contemporary states of photography
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''After the crisis'' offers a platform for discussions between some of today’s leading artists, writers, theorists, curators, and historians aimed at questioning the very status of photography today. Contributors come from the realms of critical theory, fiction, performance art, fashion photography, and museums, as well as film and design, and their conversations bring together history and the contemporary. Comparing the current situation of photographic images with the crisis experienced by representation at the time of the birth of photography, they set our relationship with photographic images in the digital era in perspective. Through these discussions, we come to sense the existential burden of being surrounded by images, while also beginning to grasp the historical depth of a questioning of images that started long before the current generation and engages with crucial political and cultural issues of our time.
After the crisis: contemporary states of photography
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$31.95
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''After the crisis'' offers a platform for discussions between some of today’s leading artists, writers, theorists, curators, and historians aimed at questioning the very status of photography today. Contributors come from the realms of critical theory, fiction, performance art, fashion photography, and museums, as well as film and design, and their conversations bring together history and the contemporary. Comparing the current situation of photographic images with the crisis experienced by representation at the time of the birth of photography, they set our relationship with photographic images in the digital era in perspective. Through these discussions, we come to sense the existential burden of being surrounded by images, while also beginning to grasp the historical depth of a questioning of images that started long before the current generation and engages with crucial political and cultural issues of our time.
Form:
books
books
Publication:
February 2020
February 2020
Subject:
Theory of Photography
Theory of Photography
