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Using New York as an example, the photographic project "EndCommercial" deals with the urban space, dissecting it into its semantic components. Picture for picture, photograph for photograph, the inner grammar of the urban context reveals itself. Collected in and on the streets, the principles of order and life signs of biotopes at the bottom end of the economic process(...)
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Using New York as an example, the photographic project "EndCommercial" deals with the urban space, dissecting it into its semantic components. Picture for picture, photograph for photograph, the inner grammar of the urban context reveals itself. Collected in and on the streets, the principles of order and life signs of biotopes at the bottom end of the economic process(...)
Subject:
Theory of Photography
Theory of Photography
Publication:
September 2002, Ostfildern
September 2002, Ostfildern
Title:
Endcommercial : reading the city
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Using New York as an example, the photographic project "EndCommercial" deals with the urban space, dissecting it into its semantic components. Picture for picture, photograph for photograph, the inner grammar of the urban context reveals itself. Collected in and on the streets, the principles of order and life signs of biotopes at the bottom end of the economic process are documented: writings on the wall, signs on the street, codes, symbols, fragments, authorship of the anonymous, wear and tear of the public living space and the people who use it. The surprise the book holds is the sudden perception of what has frequently been seen but seldom registered.
Endcommercial : reading the city
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Using New York as an example, the photographic project "EndCommercial" deals with the urban space, dissecting it into its semantic components. Picture for picture, photograph for photograph, the inner grammar of the urban context reveals itself. Collected in and on the streets, the principles of order and life signs of biotopes at the bottom end of the economic process are documented: writings on the wall, signs on the street, codes, symbols, fragments, authorship of the anonymous, wear and tear of the public living space and the people who use it. The surprise the book holds is the sudden perception of what has frequently been seen but seldom registered.
Form:
books
books
Publication:
September 2002, Ostfildern
September 2002, Ostfildern
Subject:
Theory of Photography
Theory of Photography
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books
books
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$37.95
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Summary:
In 1976, Robert Adams shot "Fort Collins, Colorado," a nighttime picture of a lone tree in a Colorado parking lot, the crescent moon hanging in the sky above. More than 30 years earlier, Ansel Adams had captured "Moonrise, Hernandez, New Mexico," showing a magnificent vista of desert scrub and clustered buildings, snow-capped mountains in the distance, the full moon(...)
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In 1976, Robert Adams shot "Fort Collins, Colorado," a nighttime picture of a lone tree in a Colorado parking lot, the crescent moon hanging in the sky above. More than 30 years earlier, Ansel Adams had captured "Moonrise, Hernandez, New Mexico," showing a magnificent vista of desert scrub and clustered buildings, snow-capped mountains in the distance, the full moon(...)
Subject:
Theory of Photography
Theory of Photography
Publication:
June 2002, Andover, Massachusetts
June 2002, Andover, Massachusetts
Title:
Reinventing the West : the photography of Ansel Adams and Robert Adams
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In 1976, Robert Adams shot "Fort Collins, Colorado," a nighttime picture of a lone tree in a Colorado parking lot, the crescent moon hanging in the sky above. More than 30 years earlier, Ansel Adams had captured "Moonrise, Hernandez, New Mexico," showing a magnificent vista of desert scrub and clustered buildings, snow-capped mountains in the distance, the full moon majestically presiding in the expansive sky overhead. These two pictures could be neither more different nor more similar; nor could the younger Adams have made his photograph without knowledge of his greatly admired predecessor's. If Ansel Adams created singular images in search of a platonic ideal of nature, Robert Adams explored repetition and conformity; both were responding, in their own personal and aesthetic way, to the landscape of the American West. The first book to juxtapose bodies of work by these two 20th-century master photographers, Reinventing the West reveals how their photographs reflect changing attitudes toward the western landscape and the natural world.
Reinventing the West : the photography of Ansel Adams and Robert Adams
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In 1976, Robert Adams shot "Fort Collins, Colorado," a nighttime picture of a lone tree in a Colorado parking lot, the crescent moon hanging in the sky above. More than 30 years earlier, Ansel Adams had captured "Moonrise, Hernandez, New Mexico," showing a magnificent vista of desert scrub and clustered buildings, snow-capped mountains in the distance, the full moon majestically presiding in the expansive sky overhead. These two pictures could be neither more different nor more similar; nor could the younger Adams have made his photograph without knowledge of his greatly admired predecessor's. If Ansel Adams created singular images in search of a platonic ideal of nature, Robert Adams explored repetition and conformity; both were responding, in their own personal and aesthetic way, to the landscape of the American West. The first book to juxtapose bodies of work by these two 20th-century master photographers, Reinventing the West reveals how their photographs reflect changing attitudes toward the western landscape and the natural world.
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books
books
Publication:
June 2002, Andover, Massachusetts
June 2002, Andover, Massachusetts
Subject:
Theory of Photography
Theory of Photography
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books
books
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This book tells the intertwined stories of photography and the American West--a new medium and a new place that came of age together in the nineteenth century. The story begins just a few years after the invention of the daguerreotype in 1839, as pioneering photographers followed American troops into the Mexican-American War. Taking advantage of rapidly developing(...)
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Summary:
This book tells the intertwined stories of photography and the American West--a new medium and a new place that came of age together in the nineteenth century. The story begins just a few years after the invention of the daguerreotype in 1839, as pioneering photographers followed American troops into the Mexican-American War. Taking advantage of rapidly developing(...)
Subject:
Theory of Photography
Theory of Photography
Publication:
October 2002, New Haven / London
October 2002, New Haven / London
Title:
Print the legend : photography and the American West
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This book tells the intertwined stories of photography and the American West--a new medium and a new place that came of age together in the nineteenth century. The story begins just a few years after the invention of the daguerreotype in 1839, as pioneering photographers followed American troops into the Mexican-American War. Taking advantage of rapidly developing technology, photographers soon set out across the overland trails, recorded the shifting fortunes of California’s goldseekers, pictured native peoples, and documented the spectacular topography of the American West. The new medium of photography made vivid a landscape few Americans had seen for themselves. Resurrecting scores of little-known images of the nineteenth-century American West, "Print the legend" offers engaging tales of ambitious photographic adventurers, missing photographs, and misinterpreted images. Chronicling both the history of a place and the history of a medium, this book portrays how Americans first came to understand western photographs and, consequently, to envision their nation.
Print the legend : photography and the American West
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$59.95
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Summary:
This book tells the intertwined stories of photography and the American West--a new medium and a new place that came of age together in the nineteenth century. The story begins just a few years after the invention of the daguerreotype in 1839, as pioneering photographers followed American troops into the Mexican-American War. Taking advantage of rapidly developing technology, photographers soon set out across the overland trails, recorded the shifting fortunes of California’s goldseekers, pictured native peoples, and documented the spectacular topography of the American West. The new medium of photography made vivid a landscape few Americans had seen for themselves. Resurrecting scores of little-known images of the nineteenth-century American West, "Print the legend" offers engaging tales of ambitious photographic adventurers, missing photographs, and misinterpreted images. Chronicling both the history of a place and the history of a medium, this book portrays how Americans first came to understand western photographs and, consequently, to envision their nation.
Form:
books
books
Publication:
October 2002, New Haven / London
October 2002, New Haven / London
Subject:
Theory of Photography
Theory of Photography
Form:
books
books
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Summary:
Le Musée de Grenoble propose l'évolution de la photographie de ses débuts à nos jours en montrant plus de cent conquante vues d'édifices prises par les photographes : Bérénice Abbott, Eugène Atget, Édouard Baldus, Lewis Baltz, Max Baur, Hippolyte Bayard, Bernd & Hilla Becher, Wermer Bischof, Jacques-André Boiffard, Pierre Boucher, Margaret Bourke-White, Marcel Bovis,(...)
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Le Musée de Grenoble propose l'évolution de la photographie de ses débuts à nos jours en montrant plus de cent conquante vues d'édifices prises par les photographes : Bérénice Abbott, Eugène Atget, Édouard Baldus, Lewis Baltz, Max Baur, Hippolyte Bayard, Bernd & Hilla Becher, Wermer Bischof, Jacques-André Boiffard, Pierre Boucher, Margaret Bourke-White, Marcel Bovis,(...)
Title:
Vues d'architectures : photographies des XIXè et XXè siècles
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Le Musée de Grenoble propose l'évolution de la photographie de ses débuts à nos jours en montrant plus de cent conquante vues d'édifices prises par les photographes : Bérénice Abbott, Eugène Atget, Édouard Baldus, Lewis Baltz, Max Baur, Hippolyte Bayard, Bernd & Hilla Becher, Wermer Bischof, Jacques-André Boiffard, Pierre Boucher, Margaret Bourke-White, Marcel Bovis, Brassaï, Balthasar Burkhard, René Burri, Jean-Marc Bustamante, Harry Callahan, Robert Capa, Hermann Claasen, Alvin Langdon Coburn, Auguste Collard, Marjorie Content, Stéphane Couturier, Louis-Jacques Daguerre, Guy Dépollier, Walker Evans, Jaromir Funke, Marc-Antoine Gaudin, Andreas Gursky, Hugo-Paul Herdeg, Lucien Hervé, Paul Hossard, Boris Ignatovitch, Pierre Jahan, Thomas Kellner, André Kertész, François Kollar, Kurt Kranz, Germaine Krull, Juan Laurent, Gustave Le Gray, Henri Le Secq, Herbert List, Werner Mantz, Charles Marville, Erich Mendelsohn, Mestral, Lee Miller, Guido Mocafico, Laszlo Moholy-Nagy, Lucia Moholy, Jean Moral, André Morin, Carlo Naya, Georgij Petrussov, Man Ray, Albert Renger-Patzsch, Alexandre Rodtchenko, Jaroslav Rössler, Thomas Ruff, Edward Ruscha, August Sander, Arthur Schlegel, Charles Sheeler, Julius Shulman, Emmanuel Sougez, Edward Steichen, André Steiner, Alfred Stieglitz, Paul Strand, Thomas Struth, Josef Sudek, Hiroshi Sugimoto, William Henry Fox Talbot, Félix Teynard, Tokayer, Hanni Werner, Eugen Wiscovski, René Zuber.
Vues d'architectures : photographies des XIXè et XXè siècles
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Le Musée de Grenoble propose l'évolution de la photographie de ses débuts à nos jours en montrant plus de cent conquante vues d'édifices prises par les photographes : Bérénice Abbott, Eugène Atget, Édouard Baldus, Lewis Baltz, Max Baur, Hippolyte Bayard, Bernd & Hilla Becher, Wermer Bischof, Jacques-André Boiffard, Pierre Boucher, Margaret Bourke-White, Marcel Bovis, Brassaï, Balthasar Burkhard, René Burri, Jean-Marc Bustamante, Harry Callahan, Robert Capa, Hermann Claasen, Alvin Langdon Coburn, Auguste Collard, Marjorie Content, Stéphane Couturier, Louis-Jacques Daguerre, Guy Dépollier, Walker Evans, Jaromir Funke, Marc-Antoine Gaudin, Andreas Gursky, Hugo-Paul Herdeg, Lucien Hervé, Paul Hossard, Boris Ignatovitch, Pierre Jahan, Thomas Kellner, André Kertész, François Kollar, Kurt Kranz, Germaine Krull, Juan Laurent, Gustave Le Gray, Henri Le Secq, Herbert List, Werner Mantz, Charles Marville, Erich Mendelsohn, Mestral, Lee Miller, Guido Mocafico, Laszlo Moholy-Nagy, Lucia Moholy, Jean Moral, André Morin, Carlo Naya, Georgij Petrussov, Man Ray, Albert Renger-Patzsch, Alexandre Rodtchenko, Jaroslav Rössler, Thomas Ruff, Edward Ruscha, August Sander, Arthur Schlegel, Charles Sheeler, Julius Shulman, Emmanuel Sougez, Edward Steichen, André Steiner, Alfred Stieglitz, Paul Strand, Thomas Struth, Josef Sudek, Hiroshi Sugimoto, William Henry Fox Talbot, Félix Teynard, Tokayer, Hanni Werner, Eugen Wiscovski, René Zuber.
Form:
books
books
Publication:
June 2002, Grenoble
June 2002, Grenoble
Subject:
Theory of Photography
Theory of Photography
Form:
books
books
Price:
$75.00
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Summary:
Many of the images that have came to sum up the twentieth century, the most turbulent in human history, belong to the realist tradition of photography. At once objective and polemical, disengaged and yet concerned, the documentary photograph has not merely recorded, but also shaped the way we see our world. Over 200 photographs are reproduced in this(...)
$75.00
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Summary:
Many of the images that have came to sum up the twentieth century, the most turbulent in human history, belong to the realist tradition of photography. At once objective and polemical, disengaged and yet concerned, the documentary photograph has not merely recorded, but also shaped the way we see our world. Over 200 photographs are reproduced in this(...)
Title:
Cruel and tender : the real in the twentieth-century photography
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Many of the images that have came to sum up the twentieth century, the most turbulent in human history, belong to the realist tradition of photography. At once objective and polemical, disengaged and yet concerned, the documentary photograph has not merely recorded, but also shaped the way we see our world. Over 200 photographs are reproduced in this book,together with essays and biographies of the photographers featured.
Cruel and tender : the real in the twentieth-century photography
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$75.00
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Summary:
Many of the images that have came to sum up the twentieth century, the most turbulent in human history, belong to the realist tradition of photography. At once objective and polemical, disengaged and yet concerned, the documentary photograph has not merely recorded, but also shaped the way we see our world. Over 200 photographs are reproduced in this book,together with essays and biographies of the photographers featured.
Form:
books
books
Publication:
August 2003, London
August 2003, London
Subject:
Theory of Photography
Theory of Photography
Form:
books
books
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Bruce Bernard was the leading picture editor of his generation, celebrated for his visual taste, knowledge and judgement of photography. In the 1990s, he was commissioned by a private client to assemble a photographic collection and set about acquiring a selection of images that represented, to his unique eye, the best work in the medium from the whole history of(...)
$75.00
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Summary:
Bruce Bernard was the leading picture editor of his generation, celebrated for his visual taste, knowledge and judgement of photography. In the 1990s, he was commissioned by a private client to assemble a photographic collection and set about acquiring a selection of images that represented, to his unique eye, the best work in the medium from the whole history of(...)
Title:
One hundred photographs : a collection by Bruce Bernard
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Summary:
Bruce Bernard was the leading picture editor of his generation, celebrated for his visual taste, knowledge and judgement of photography. In the 1990s, he was commissioned by a private client to assemble a photographic collection and set about acquiring a selection of images that represented, to his unique eye, the best work in the medium from the whole history of photography, ranging from nineteenth-century pioneers like Muybridge and Fox Talbot to giants of the twentieth century like André Kertész, Man Ray, Brassai and Robert Frank. These one hundred photographs are the result: he does not attempt to cover every period or every notable artist, but rather includes only images that ‘truly stimulated and satisfied … and seemed could permanently continue to do so’. In other words what he considered to be classics.
One hundred photographs : a collection by Bruce Bernard
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Summary:
Bruce Bernard was the leading picture editor of his generation, celebrated for his visual taste, knowledge and judgement of photography. In the 1990s, he was commissioned by a private client to assemble a photographic collection and set about acquiring a selection of images that represented, to his unique eye, the best work in the medium from the whole history of photography, ranging from nineteenth-century pioneers like Muybridge and Fox Talbot to giants of the twentieth century like André Kertész, Man Ray, Brassai and Robert Frank. These one hundred photographs are the result: he does not attempt to cover every period or every notable artist, but rather includes only images that ‘truly stimulated and satisfied … and seemed could permanently continue to do so’. In other words what he considered to be classics.
Form:
books
books
Publication:
September 2002, London
September 2002, London
Subject:
Theory of Photography
Theory of Photography
Form:
books
books
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$56.00
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In "Killing ground", John Huddleston embarks on a photographic odyssey through the modern-day landscape of the Civil War. He pairs historical images of the conflict from sixty-two battle sites across the nation -battle-field scenes, soldiers living and dead, prisoners of war, civilians, and slaves - with his own color photographs of the same locations a century and a half(...)
$56.00
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Summary:
In "Killing ground", John Huddleston embarks on a photographic odyssey through the modern-day landscape of the Civil War. He pairs historical images of the conflict from sixty-two battle sites across the nation -battle-field scenes, soldiers living and dead, prisoners of war, civilians, and slaves - with his own color photographs of the same locations a century and a half(...)
Title:
Killing ground : photographs of the Civil War and the changing American landscape
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In "Killing ground", John Huddleston embarks on a photographic odyssey through the modern-day landscape of the Civil War. He pairs historical images of the conflict from sixty-two battle sites across the nation -battle-field scenes, soldiers living and dead, prisoners of war, civilians, and slaves - with his own color photographs of the same locations a century and a half later, always taken at the same time of year, often at the same hour of the day. Sometimes Huddleston's lens reveals a department store or fast-food restaurant carelessly built on hallowed ground; other images depict overgrown fields or well-manicured parks. When constrasted with their mid-nineteenth-century counterparts, these indelible images challenge the meaning of place in American culture and the evolving legacy of the Civil War in our national memory.
Killing ground : photographs of the Civil War and the changing American landscape
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$56.00
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Summary:
In "Killing ground", John Huddleston embarks on a photographic odyssey through the modern-day landscape of the Civil War. He pairs historical images of the conflict from sixty-two battle sites across the nation -battle-field scenes, soldiers living and dead, prisoners of war, civilians, and slaves - with his own color photographs of the same locations a century and a half later, always taken at the same time of year, often at the same hour of the day. Sometimes Huddleston's lens reveals a department store or fast-food restaurant carelessly built on hallowed ground; other images depict overgrown fields or well-manicured parks. When constrasted with their mid-nineteenth-century counterparts, these indelible images challenge the meaning of place in American culture and the evolving legacy of the Civil War in our national memory.
Form:
books
books
Publication:
April 2002, Baltimore / London
April 2002, Baltimore / London
Subject:
Theory of Photography
Theory of Photography
Form:
books
books
Price:
$40.00
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Summary:
In this book, the author provides a comprehensive history of the significant presence of California farmworkers in the visual culture of America. Also, he spans 150 years and sheds a new perspective on some of America’s photographic masters, such as Carleton E. Watkins, Ansel Adams, and Dorothea Lange, and brings to light heretofore unknown and unheralded work by(...)
$40.00
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Summary:
In this book, the author provides a comprehensive history of the significant presence of California farmworkers in the visual culture of America. Also, he spans 150 years and sheds a new perspective on some of America’s photographic masters, such as Carleton E. Watkins, Ansel Adams, and Dorothea Lange, and brings to light heretofore unknown and unheralded work by(...)
Title:
Everyone had camera, photography and frameworkers in California, 1850-2000
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In this book, the author provides a comprehensive history of the significant presence of California farmworkers in the visual culture of America. Also, he spans 150 years and sheds a new perspective on some of America’s photographic masters, such as Carleton E. Watkins, Ansel Adams, and Dorothea Lange, and brings to light heretofore unknown and unheralded work by perceptive amateurs, socially committed journeymen, digital documentarians, commercial propagandists, and left-wing critics.
Everyone had camera, photography and frameworkers in California, 1850-2000
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Summary:
In this book, the author provides a comprehensive history of the significant presence of California farmworkers in the visual culture of America. Also, he spans 150 years and sheds a new perspective on some of America’s photographic masters, such as Carleton E. Watkins, Ansel Adams, and Dorothea Lange, and brings to light heretofore unknown and unheralded work by perceptive amateurs, socially committed journeymen, digital documentarians, commercial propagandists, and left-wing critics.
Form:
books
books
Publication:
October 2008, Minneapolis
October 2008, Minneapolis
Subject:
Theory of Photography
Theory of Photography
Form:
books
books
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Summary:
Since 2003, photographer Abdi Roble and writer Doug Rutledge have been documenting the lives of Somali immigrants in the United States and of the people forced into the vast refugee camps that were set up in Kenya in the wake of the 1991 civil war in Somalia.
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Summary:
Since 2003, photographer Abdi Roble and writer Doug Rutledge have been documenting the lives of Somali immigrants in the United States and of the people forced into the vast refugee camps that were set up in Kenya in the wake of the 1991 civil war in Somalia.
Subject:
Theory of Photography
Theory of Photography
Publication:
September 2008, Minneapolis
September 2008, Minneapolis
Title:
The Somalie diaspora : a journey away
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Since 2003, photographer Abdi Roble and writer Doug Rutledge have been documenting the lives of Somali immigrants in the United States and of the people forced into the vast refugee camps that were set up in Kenya in the wake of the 1991 civil war in Somalia.
The Somalie diaspora : a journey away
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Since 2003, photographer Abdi Roble and writer Doug Rutledge have been documenting the lives of Somali immigrants in the United States and of the people forced into the vast refugee camps that were set up in Kenya in the wake of the 1991 civil war in Somalia.
Form:
books
books
Publication:
September 2008, Minneapolis
September 2008, Minneapolis
Subject:
Theory of Photography
Theory of Photography
Form:
books
books
Actions:
Price:
$50.00
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Summary:
This book examines a recurrent question in recent literature on the use of the photographic medium in contemporary art. It is concerned with the multiformity of ways the photograph manifests itself in diverse artistic practices today, and with the consequences of this situation for photography’s critical potential. Central to this discussion is the question whether(...)
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Summary:
This book examines a recurrent question in recent literature on the use of the photographic medium in contemporary art. It is concerned with the multiformity of ways the photograph manifests itself in diverse artistic practices today, and with the consequences of this situation for photography’s critical potential. Central to this discussion is the question whether(...)
Subject:
Theory of Photography
Theory of Photography
Publication:
September 2008, Leuven
September 2008, Leuven
Title:
Photography between poetry and politics: the critical position of the photographic medium in contemporary art
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This book examines a recurrent question in recent literature on the use of the photographic medium in contemporary art. It is concerned with the multiformity of ways the photograph manifests itself in diverse artistic practices today, and with the consequences of this situation for photography’s critical potential. Central to this discussion is the question whether photography has a hybrid or chameleonic character because it can be part of entirely different mixed-media works of art. The book also raises such questions as: Does the photo-image nowadays serve mainly as a useful tool to make a renewed kind of tableau, often marked by a rather noncommittal and ‘poetic’ visual imagery? When photographic practices aim at raising a critical debate on the internal workings of the artistic system itself or on broader social problems, is the photograph then able to distinguish itself from a merely ‘political’ statement or a pamphlet? A distinguished variety of authors, all specialists in the field of contemporary photography, offer their viewpoints on this debate.
Photography between poetry and politics: the critical position of the photographic medium in contemporary art
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Summary:
This book examines a recurrent question in recent literature on the use of the photographic medium in contemporary art. It is concerned with the multiformity of ways the photograph manifests itself in diverse artistic practices today, and with the consequences of this situation for photography’s critical potential. Central to this discussion is the question whether photography has a hybrid or chameleonic character because it can be part of entirely different mixed-media works of art. The book also raises such questions as: Does the photo-image nowadays serve mainly as a useful tool to make a renewed kind of tableau, often marked by a rather noncommittal and ‘poetic’ visual imagery? When photographic practices aim at raising a critical debate on the internal workings of the artistic system itself or on broader social problems, is the photograph then able to distinguish itself from a merely ‘political’ statement or a pamphlet? A distinguished variety of authors, all specialists in the field of contemporary photography, offer their viewpoints on this debate.
Form:
books
books
Publication:
September 2008, Leuven
September 2008, Leuven
Subject:
Theory of Photography
Theory of Photography
