2332 Results
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''Adjusting the lens'' explores the role of photography in contemporary renegotiations of the past and in Indigenous art activism. In moving and powerful case studies, contributors analyze photographic practices and heritage related to Indigenous communities in Canada, Australia, Greenland, Norway, Sweden, Finland, and the United States. In the process, they call(...)
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''Adjusting the lens'' explores the role of photography in contemporary renegotiations of the past and in Indigenous art activism. In moving and powerful case studies, contributors analyze photographic practices and heritage related to Indigenous communities in Canada, Australia, Greenland, Norway, Sweden, Finland, and the United States. In the process, they call(...)
Title:
Adjusting the lens: indigenous activism, colonial legacies, and photographic heritage
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''Adjusting the lens'' explores the role of photography in contemporary renegotiations of the past and in Indigenous art activism. In moving and powerful case studies, contributors analyze photographic practices and heritage related to Indigenous communities in Canada, Australia, Greenland, Norway, Sweden, Finland, and the United States. In the process, they call attention to how Indigenous people are using old photographs in new ways to empower themselves, revitalize community identity, and decolonize the colonial record. ''Adjusting the lens'' presents original research in this emerging field in Indigenous photography studies, juxtaposing the historical and the contemporary across a range of geographically and culturally distinctive contexts. The transnational perspective of this exciting collection challenges old ways of thinking and meaningfully advances the crucially important project of reclamation.
Adjusting the lens: indigenous activism, colonial legacies, and photographic heritage
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$45.00
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Summary:
''Adjusting the lens'' explores the role of photography in contemporary renegotiations of the past and in Indigenous art activism. In moving and powerful case studies, contributors analyze photographic practices and heritage related to Indigenous communities in Canada, Australia, Greenland, Norway, Sweden, Finland, and the United States. In the process, they call attention to how Indigenous people are using old photographs in new ways to empower themselves, revitalize community identity, and decolonize the colonial record. ''Adjusting the lens'' presents original research in this emerging field in Indigenous photography studies, juxtaposing the historical and the contemporary across a range of geographically and culturally distinctive contexts. The transnational perspective of this exciting collection challenges old ways of thinking and meaningfully advances the crucially important project of reclamation.
Form:
books
books
Publication:
November 2021
November 2021
Subject:
Theory of Photography
Theory of Photography
Form:
books
books
Title:
Leslie Hewitt
Leslie Hewitt
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Featured in the Guggenheim's 2015 landmark ''Photo-Poetics'' exhibition, New York–based artist Leslie Hewitt (born 1977) is one of the most revered artists working between photography and sculpture. Collaboration has been a central part of Hewitt's art, including projects with William Cordova and Matt Keegan, and her ongoing work with cinematographer Bradford Young(...)
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Featured in the Guggenheim's 2015 landmark ''Photo-Poetics'' exhibition, New York–based artist Leslie Hewitt (born 1977) is one of the most revered artists working between photography and sculpture. Collaboration has been a central part of Hewitt's art, including projects with William Cordova and Matt Keegan, and her ongoing work with cinematographer Bradford Young(...)
Title:
Leslie Hewitt
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Featured in the Guggenheim's 2015 landmark ''Photo-Poetics'' exhibition, New York–based artist Leslie Hewitt (born 1977) is one of the most revered artists working between photography and sculpture. Collaboration has been a central part of Hewitt's art, including projects with William Cordova and Matt Keegan, and her ongoing work with cinematographer Bradford Young exploring the Menil Collection archive of civil rights-era photographs. That cinematic rumination on historicity and the relationship of the archive to memory, minimalism, lived experience and time, sets an exemplary precedent for this first monograph surveying Hewitt's oeuvre.
Leslie Hewitt
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Summary:
Featured in the Guggenheim's 2015 landmark ''Photo-Poetics'' exhibition, New York–based artist Leslie Hewitt (born 1977) is one of the most revered artists working between photography and sculpture. Collaboration has been a central part of Hewitt's art, including projects with William Cordova and Matt Keegan, and her ongoing work with cinematographer Bradford Young exploring the Menil Collection archive of civil rights-era photographs. That cinematic rumination on historicity and the relationship of the archive to memory, minimalism, lived experience and time, sets an exemplary precedent for this first monograph surveying Hewitt's oeuvre.
Form:
books
books
Publication:
February 2019
February 2019
Subject:
Photography monographs
Photography monographs
Form:
books
books
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$52.50
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Here, published for the first time, is one of photography's unknown masterworks: a Viennese lawyer and photographer [Dr. Emil Mayer] whose prints were largely destroyed by the Gestapo after his death. This extraordinary collection establishes Mayer as a master of photography, one of the first in a line of street photographers that includes André Kertész and Henri(...)
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Here, published for the first time, is one of photography's unknown masterworks: a Viennese lawyer and photographer [Dr. Emil Mayer] whose prints were largely destroyed by the Gestapo after his death. This extraordinary collection establishes Mayer as a master of photography, one of the first in a line of street photographers that includes André Kertész and Henri(...)
Subject:
Photography monographs
Photography monographs
Publication:
January 2000, New York
January 2000, New York
Title:
Viennese types: [Wiener typen]. Photographs c. 1910 by Dr. Emil Mayer
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Here, published for the first time, is one of photography's unknown masterworks: a Viennese lawyer and photographer [Dr. Emil Mayer] whose prints were largely destroyed by the Gestapo after his death. This extraordinary collection establishes Mayer as a master of photography, one of the first in a line of street photographers that includes André Kertész and Henri Cartier-Bresson. Mayer's photographs, taken during the last years of the horse and carriage, offer us a rare and intimate vision of a bygone age. The result is a book that is lyrical, moving, and exquisitely beautiful.
Viennese types: [Wiener typen]. Photographs c. 1910 by Dr. Emil Mayer
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Here, published for the first time, is one of photography's unknown masterworks: a Viennese lawyer and photographer [Dr. Emil Mayer] whose prints were largely destroyed by the Gestapo after his death. This extraordinary collection establishes Mayer as a master of photography, one of the first in a line of street photographers that includes André Kertész and Henri Cartier-Bresson. Mayer's photographs, taken during the last years of the horse and carriage, offer us a rare and intimate vision of a bygone age. The result is a book that is lyrical, moving, and exquisitely beautiful.
Form:
books
books
Publication:
January 2000, New York
January 2000, New York
Subject:
Photography monographs
Photography monographs
Form:
books
books
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$90.00
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"German photo artist Thomas Ruff is a master of conceptual serial photography. He made a name for himself in the early eighties with oversized, superrealistic color portraits of his artist friends and as a pioneer of the Diasec process used to mount photographic images onto acrylic glass, thereby obviating frames, liberating photography from the print gallery and paving(...)
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"German photo artist Thomas Ruff is a master of conceptual serial photography. He made a name for himself in the early eighties with oversized, superrealistic color portraits of his artist friends and as a pioneer of the Diasec process used to mount photographic images onto acrylic glass, thereby obviating frames, liberating photography from the print gallery and paving(...)
Title:
Thomas Ruff : works 1979-2011
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"German photo artist Thomas Ruff is a master of conceptual serial photography. He made a name for himself in the early eighties with oversized, superrealistic color portraits of his artist friends and as a pioneer of the Diasec process used to mount photographic images onto acrylic glass, thereby obviating frames, liberating photography from the print gallery and paving the way to the "grand gallery" museum walls for large-format photos. This collection presents selected works from Thomas Ruff's large-format series, beginning with his small Interiors, the large Portraits, his Architectural Photos, the Starry Skies, his abstract Substrata, the Nudes, which make use of pornographic material taken from the internet, and finally his latest creation: Stellar Landscapes. The book features essays by Thomas Weski and Okwui Enwezor and appears in conjunction with an extensive Thomas Ruff retrospective exhibition at the Haus der Kunst in Munich."
Thomas Ruff : works 1979-2011
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"German photo artist Thomas Ruff is a master of conceptual serial photography. He made a name for himself in the early eighties with oversized, superrealistic color portraits of his artist friends and as a pioneer of the Diasec process used to mount photographic images onto acrylic glass, thereby obviating frames, liberating photography from the print gallery and paving the way to the "grand gallery" museum walls for large-format photos. This collection presents selected works from Thomas Ruff's large-format series, beginning with his small Interiors, the large Portraits, his Architectural Photos, the Starry Skies, his abstract Substrata, the Nudes, which make use of pornographic material taken from the internet, and finally his latest creation: Stellar Landscapes. The book features essays by Thomas Weski and Okwui Enwezor and appears in conjunction with an extensive Thomas Ruff retrospective exhibition at the Haus der Kunst in Munich."
Form:
books
books
Publication:
March 2012
March 2012
Subject:
Photography monographs
Photography monographs
Form:
books
books
Title:
Habiter Berlin, 1900-1920
Habiter Berlin, 1900-1920
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Ce livre rassemble 175 photographies d'intérieurs berlinois réalisées entre 1903 et 1920, pour le compte d'une enquête " hygiéniste " sur l'habitat menée par une caisse locale d'assurance maladie des métiers du commerce. L'objectif de cette campagne photographique d'ampleur était d'inciter à l'amélioration de l'habitat berlinois et à l'éradication de l'insalubrité. Cette(...)
$59.95
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Ce livre rassemble 175 photographies d'intérieurs berlinois réalisées entre 1903 et 1920, pour le compte d'une enquête " hygiéniste " sur l'habitat menée par une caisse locale d'assurance maladie des métiers du commerce. L'objectif de cette campagne photographique d'ampleur était d'inciter à l'amélioration de l'habitat berlinois et à l'éradication de l'insalubrité. Cette(...)
Subject:
Photography Collections
Photography Collections
Publication:
September 2016
September 2016
Title:
Habiter Berlin, 1900-1920
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Ce livre rassemble 175 photographies d'intérieurs berlinois réalisées entre 1903 et 1920, pour le compte d'une enquête " hygiéniste " sur l'habitat menée par une caisse locale d'assurance maladie des métiers du commerce. L'objectif de cette campagne photographique d'ampleur était d'inciter à l'amélioration de l'habitat berlinois et à l'éradication de l'insalubrité. Cette collection est exceptionnelle dans l'histoire de la photographie, à plus d'un titre : par son thème : approche photographique des espaces domestiques en présence de leurs occupants ; par son époque : juste avant et pendant la Grande Guerre ; par sa durée : sur deux décennies ; par son unité de lieu, au coeur de Berlin ; par sa prouesse technique : photographier des intérieurs sombres constitue une difficulté majeure. Le document dans son ensemble renseigne également tout un pan de l'économie liée au travail à domicile. L'articulation logement/atelier est très explicite : on perçoit l'espace du travail et les dispositifs techniques qui s'y rattachent. Par leur qualité, leur vérité, leur rigueur documentaire (notamment par la précision des légendes), elles sont saisissantes et peuvent susciter un certain effroi au vu des conditions d'habiter une métropole ouvrière au tournant du XXe siècle. Elles nous font pénétrer au sein des foyers et de l'espace privé des classes populaires, dans l'univers des mal logés et même des sans-abri qu'on y accueille.
Habiter Berlin, 1900-1920
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Ce livre rassemble 175 photographies d'intérieurs berlinois réalisées entre 1903 et 1920, pour le compte d'une enquête " hygiéniste " sur l'habitat menée par une caisse locale d'assurance maladie des métiers du commerce. L'objectif de cette campagne photographique d'ampleur était d'inciter à l'amélioration de l'habitat berlinois et à l'éradication de l'insalubrité. Cette collection est exceptionnelle dans l'histoire de la photographie, à plus d'un titre : par son thème : approche photographique des espaces domestiques en présence de leurs occupants ; par son époque : juste avant et pendant la Grande Guerre ; par sa durée : sur deux décennies ; par son unité de lieu, au coeur de Berlin ; par sa prouesse technique : photographier des intérieurs sombres constitue une difficulté majeure. Le document dans son ensemble renseigne également tout un pan de l'économie liée au travail à domicile. L'articulation logement/atelier est très explicite : on perçoit l'espace du travail et les dispositifs techniques qui s'y rattachent. Par leur qualité, leur vérité, leur rigueur documentaire (notamment par la précision des légendes), elles sont saisissantes et peuvent susciter un certain effroi au vu des conditions d'habiter une métropole ouvrière au tournant du XXe siècle. Elles nous font pénétrer au sein des foyers et de l'espace privé des classes populaires, dans l'univers des mal logés et même des sans-abri qu'on y accueille.
Form:
books
books
Publication:
September 2016
September 2016
Subject:
Photography Collections
Photography Collections
Form:
books
books
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$70.00
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The catastrophic events of March 11, 2011—the earthquake, tsunami and ensuing nuclear meltdown of the Fukushima Daiichi Nuclear Power Plant—have been called "the triple disaster" in Japan. Among the first artists to respond to these experiences were photographers. Some attempted to document the devastation, while others ruminated on the meaning and use of photography in(...)
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Summary:
The catastrophic events of March 11, 2011—the earthquake, tsunami and ensuing nuclear meltdown of the Fukushima Daiichi Nuclear Power Plant—have been called "the triple disaster" in Japan. Among the first artists to respond to these experiences were photographers. Some attempted to document the devastation, while others ruminated on the meaning and use of photography in(...)
Publication:
February 2015
February 2015
Title:
In the wake: japanese photographers respond to 3/11
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The catastrophic events of March 11, 2011—the earthquake, tsunami and ensuing nuclear meltdown of the Fukushima Daiichi Nuclear Power Plant—have been called "the triple disaster" in Japan. Among the first artists to respond to these experiences were photographers. Some attempted to document the devastation, while others ruminated on the meaning and use of photography in the wake of tragedy. As the immediate effects of the earthquake and tsunami gave way to nuclear disaster, artists began to respond to the challenges of depicting an invisible threat that calls up the collective memory of Hiroshima and Nagasaki. Artists include Takashi Arai, Nobuyoshi Araki, Ishu Han, Naoya Hatakeyama, Takashi Homma, Kikuji Kawada, Rinko Kawauchi, Keizo Kitajima, Kozo Miyoshi, Masato Seto, Lieko Shiga, Shimpei Takada, Masaru Tatsuki, Daisuke Yokota and Tomoko Yoneda.
In the wake: japanese photographers respond to 3/11
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Summary:
The catastrophic events of March 11, 2011—the earthquake, tsunami and ensuing nuclear meltdown of the Fukushima Daiichi Nuclear Power Plant—have been called "the triple disaster" in Japan. Among the first artists to respond to these experiences were photographers. Some attempted to document the devastation, while others ruminated on the meaning and use of photography in the wake of tragedy. As the immediate effects of the earthquake and tsunami gave way to nuclear disaster, artists began to respond to the challenges of depicting an invisible threat that calls up the collective memory of Hiroshima and Nagasaki. Artists include Takashi Arai, Nobuyoshi Araki, Ishu Han, Naoya Hatakeyama, Takashi Homma, Kikuji Kawada, Rinko Kawauchi, Keizo Kitajima, Kozo Miyoshi, Masato Seto, Lieko Shiga, Shimpei Takada, Masaru Tatsuki, Daisuke Yokota and Tomoko Yoneda.
Form:
books
books
Publication:
February 2015
February 2015
Form:
books
books
Price:
$15.00
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Summary:
''3+: Trois photographes montréalais+/ Three Montreal photographers'' est un catalogue d'une exposition rétrospective de photographies de trois photographes montréalais – Tom Gibson, Donigan Cumming et Michel Campeau – dont le travail a été collectionné et a fait l’objet d’écrits par le commissaire et critique Robert Graham. Leur travail est présenté en association avec(...)
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''3+: Trois photographes montréalais+/ Three Montreal photographers'' est un catalogue d'une exposition rétrospective de photographies de trois photographes montréalais – Tom Gibson, Donigan Cumming et Michel Campeau – dont le travail a été collectionné et a fait l’objet d’écrits par le commissaire et critique Robert Graham. Leur travail est présenté en association avec(...)
Title:
3+ : trois photographes montréalais + / three Montréal photographers +
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''3+: Trois photographes montréalais+/ Three Montreal photographers'' est un catalogue d'une exposition rétrospective de photographies de trois photographes montréalais – Tom Gibson, Donigan Cumming et Michel Campeau – dont le travail a été collectionné et a fait l’objet d’écrits par le commissaire et critique Robert Graham. Leur travail est présenté en association avec plusieurs images, également issues de sa collection, de trois photographes d’ailleurs – Eadweard Muybridge (Britannique, 1830-1904), Miroslav Tichý (Tchécoslovaque, 1926-2011) et Martin Parr (Britannique, 1952- ). Dans son essai, Robert Graham expose son approche critique. Comme il l’a observé, les photographies en séries et en groupes révèlent, par la répétition et le motif, les intérêts sous-jacents de l’artiste, et la conjonction du dernier groupe de photographes met en relief certains aspects des trois premiers. Chaque artiste pratique une rhétorique qui nous aide à comprendre comment nous pensons à travers la photographie. En tant que commissaire de cette exposition, Graham s’est intéressé à la relation entre l’image et la connaissance, et à la façon dont l’une soutient l’autre d’une manière similaire à celle dont ce qu’il appelle métaphoriquement ''l’illustration' et la 'légende' sont liées. De cette manière, la photographie favorise un certain type de connaissance; en effet, les informations spatiales fournies par la photographie constituent une sorte de géographie à part entière, qui a été décrite comme 'l’œil de l’histoire'.
3+ : trois photographes montréalais + / three Montréal photographers +
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''3+: Trois photographes montréalais+/ Three Montreal photographers'' est un catalogue d'une exposition rétrospective de photographies de trois photographes montréalais – Tom Gibson, Donigan Cumming et Michel Campeau – dont le travail a été collectionné et a fait l’objet d’écrits par le commissaire et critique Robert Graham. Leur travail est présenté en association avec plusieurs images, également issues de sa collection, de trois photographes d’ailleurs – Eadweard Muybridge (Britannique, 1830-1904), Miroslav Tichý (Tchécoslovaque, 1926-2011) et Martin Parr (Britannique, 1952- ). Dans son essai, Robert Graham expose son approche critique. Comme il l’a observé, les photographies en séries et en groupes révèlent, par la répétition et le motif, les intérêts sous-jacents de l’artiste, et la conjonction du dernier groupe de photographes met en relief certains aspects des trois premiers. Chaque artiste pratique une rhétorique qui nous aide à comprendre comment nous pensons à travers la photographie. En tant que commissaire de cette exposition, Graham s’est intéressé à la relation entre l’image et la connaissance, et à la façon dont l’une soutient l’autre d’une manière similaire à celle dont ce qu’il appelle métaphoriquement ''l’illustration' et la 'légende' sont liées. De cette manière, la photographie favorise un certain type de connaissance; en effet, les informations spatiales fournies par la photographie constituent une sorte de géographie à part entière, qui a été décrite comme 'l’œil de l’histoire'.
Form:
books
books
Publication:
May 2021
May 2021
Subject:
Photography Collections
Photography Collections
Form:
books
books
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$66.00
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Summary:
Documenting Vera Lutter’s ambitious residency at the Los Angeles County Museum of Art, this book traces the artist’s process and features images from her two-year-long photography project. Vera Lutter’s work has taken her and her pinhole camera all over the world, most recently to LACMA as its artist in residence. Stationing a mobile camera obscura outside the museum,(...)
$66.00
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Summary:
Documenting Vera Lutter’s ambitious residency at the Los Angeles County Museum of Art, this book traces the artist’s process and features images from her two-year-long photography project. Vera Lutter’s work has taken her and her pinhole camera all over the world, most recently to LACMA as its artist in residence. Stationing a mobile camera obscura outside the museum,(...)
Title:
Vera Lutter: Museum in the Camera
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Documenting Vera Lutter’s ambitious residency at the Los Angeles County Museum of Art, this book traces the artist’s process and features images from her two-year-long photography project. Vera Lutter’s work has taken her and her pinhole camera all over the world, most recently to LACMA as its artist in residence. Stationing a mobile camera obscura outside the museum, Lutter captured the exterior of the campus buildings in images that transform the mid- and late-20th century architecture. Using an enormous camera, custom-built into the museum’s Old Masters gallery, she captured the long perspective on the classically installed room, echoing historical paintings of museum interiors. Finally, with four smaller cameras, Lutter photographed various works in the LACMA collection, transforming colorful paintings into ethereal black-and-white images. In contrast to digitized photography, which allows artists to fine-tune and perfect their product, Lutter’s analogue pinhole photographs are a refreshing reminder of the medium’s origins.
Vera Lutter: Museum in the Camera
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Documenting Vera Lutter’s ambitious residency at the Los Angeles County Museum of Art, this book traces the artist’s process and features images from her two-year-long photography project. Vera Lutter’s work has taken her and her pinhole camera all over the world, most recently to LACMA as its artist in residence. Stationing a mobile camera obscura outside the museum, Lutter captured the exterior of the campus buildings in images that transform the mid- and late-20th century architecture. Using an enormous camera, custom-built into the museum’s Old Masters gallery, she captured the long perspective on the classically installed room, echoing historical paintings of museum interiors. Finally, with four smaller cameras, Lutter photographed various works in the LACMA collection, transforming colorful paintings into ethereal black-and-white images. In contrast to digitized photography, which allows artists to fine-tune and perfect their product, Lutter’s analogue pinhole photographs are a refreshing reminder of the medium’s origins.
Form:
books
books
Publication:
April 2020
April 2020
Subject:
Photography monographs
Photography monographs
Form:
books
books
Price:
$67.50
(available to order)
Summary:
Today we are so accustomed to seeing photographs wedded to text--whether in the family album or daily newspaper--that the verbal framing of the photograph has become invisible. The text is internalized within the image, and the meaning of the photograph becomes(...)
$67.50
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Summary:
Today we are so accustomed to seeing photographs wedded to text--whether in the family album or daily newspaper--that the verbal framing of the photograph has become invisible. The text is internalized within the image, and the meaning of the photograph becomes(...)
Subject:
Photography Collections
Photography Collections
Publication:
November 1998, Cambridge, Mass.
November 1998, Cambridge, Mass.
Title:
Scenes in a library : reading the photograph in the book, 1843-1875
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Today we are so accustomed to seeing photographs wedded to text--whether in the family album or daily newspaper--that the verbal framing of the photograph has become invisible. The text is internalized within the image, and the meaning of the photograph becomes clear and self-evident, as if by the evidence of the photograph itself. In Scenes in a Library, Carol Armstrong explores the experimental moment, at the inception of the new medium, when the word came to haunt the photographic image, and the forty or so years--roughly from the 1840s to the 1880s--during which the photographic image alternately resisted and became assimilated to the printed page. Armstrong's emphasis is on British books. Not only was it in an English book that the paper photograph was first described and published, but the range of subject matter of nineteenth-century British photographically illustrated books prior to the 1880s was as rich as it was peculiar and sometimes recalcitrant. Armstrong focuses on one book about photography (Talbot's The Pencil of Nature); one "scientific" book (Anna Atkins's Photographs of British Algae); two travel narratives, one factual and one fictional (Francis Frith's Egypt and Palestine Photographed and Observed and his illustrated edition of Longfellow's novel Hyperion: A Romance); and one book of poetry (Julia Margaret Cameron's Illustrations to Alfred Lord Tennyson's Idylls of the King); as well as some miscellaneous books from the 1870s. According to Armstrong, art history has tended to remove the historic photograph from its printed and published context. Moving back and forth between close looking and equally close reading, she reinserts the photograph into the book from which it was taken.
Scenes in a library : reading the photograph in the book, 1843-1875
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$67.50
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Summary:
Today we are so accustomed to seeing photographs wedded to text--whether in the family album or daily newspaper--that the verbal framing of the photograph has become invisible. The text is internalized within the image, and the meaning of the photograph becomes clear and self-evident, as if by the evidence of the photograph itself. In Scenes in a Library, Carol Armstrong explores the experimental moment, at the inception of the new medium, when the word came to haunt the photographic image, and the forty or so years--roughly from the 1840s to the 1880s--during which the photographic image alternately resisted and became assimilated to the printed page. Armstrong's emphasis is on British books. Not only was it in an English book that the paper photograph was first described and published, but the range of subject matter of nineteenth-century British photographically illustrated books prior to the 1880s was as rich as it was peculiar and sometimes recalcitrant. Armstrong focuses on one book about photography (Talbot's The Pencil of Nature); one "scientific" book (Anna Atkins's Photographs of British Algae); two travel narratives, one factual and one fictional (Francis Frith's Egypt and Palestine Photographed and Observed and his illustrated edition of Longfellow's novel Hyperion: A Romance); and one book of poetry (Julia Margaret Cameron's Illustrations to Alfred Lord Tennyson's Idylls of the King); as well as some miscellaneous books from the 1870s. According to Armstrong, art history has tended to remove the historic photograph from its printed and published context. Moving back and forth between close looking and equally close reading, she reinserts the photograph into the book from which it was taken.
Form:
books
books
Publication:
November 1998, Cambridge, Mass.
November 1998, Cambridge, Mass.
Subject:
Photography Collections
Photography Collections
Form:
archives
archives
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Holdings:
Description:
ca. 46,874 items, 85.57 l.m. textual records., Arranged by series and files.
Description:
ca. 46,874 items, 85.57 l.m. textual records., Arranged by series and files.
Author:
Subject:
Title:
Peter Eisenman fonds, 1925-2008.
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Description:
ca. 46,874 items, 85.57 l.m. textual records., Arranged by series and files.
Peter Eisenman fonds, 1925-2008.
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Holdings:
Description:
ca. 46,874 items, 85.57 l.m. textual records., Arranged by series and files.
Form:
archives
archives
Author:
Subject:
