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Canada is a country whose national narrative is difficult to define, even for Canadians. This question is further complicated when looking at emerging artists who have grown up under intense globalization. In Canada, specific identities are difficult to pinpoint and, when they are, they are often portrayed as problematic stereotypes bound up in a colonialist history. (...)
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Canada is a country whose national narrative is difficult to define, even for Canadians. This question is further complicated when looking at emerging artists who have grown up under intense globalization. In Canada, specific identities are difficult to pinpoint and, when they are, they are often portrayed as problematic stereotypes bound up in a colonialist history. (...)
Title:
Alternorthern: an exhibition of nine emerging Canadian artists
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Canada is a country whose national narrative is difficult to define, even for Canadians. This question is further complicated when looking at emerging artists who have grown up under intense globalization. In Canada, specific identities are difficult to pinpoint and, when they are, they are often portrayed as problematic stereotypes bound up in a colonialist history. “Alternorthern” was conceived in the tension that exists between nationalism, globalization, and individualism: the exhibition is a product of both cultural values and cultural hybridism. The nine artists in this exhibition function similarly in that they use their own identities to make gestures that transgress time and space. Each artist in the exhibition is Canadian, yet each creates work that speaks to issues pertinent to both Canadian and global geographic and political landscapes. The exhibition will open during the 2010 Olympics, when many of the stereotypes, symbols, themes, and political workings of Canada will be disseminated into the U.S. media. As Canada is in the throes of presenting its tourist identity on the international stage, this exhibition can function as a way of transgressing this identity. Thus, the curators see this exhibition not as a response to the event of the Olympics but as an opportunity to subvert and play with cultural dialogue that will exist during this time.
Alternorthern: an exhibition of nine emerging Canadian artists
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Summary:
Canada is a country whose national narrative is difficult to define, even for Canadians. This question is further complicated when looking at emerging artists who have grown up under intense globalization. In Canada, specific identities are difficult to pinpoint and, when they are, they are often portrayed as problematic stereotypes bound up in a colonialist history. “Alternorthern” was conceived in the tension that exists between nationalism, globalization, and individualism: the exhibition is a product of both cultural values and cultural hybridism. The nine artists in this exhibition function similarly in that they use their own identities to make gestures that transgress time and space. Each artist in the exhibition is Canadian, yet each creates work that speaks to issues pertinent to both Canadian and global geographic and political landscapes. The exhibition will open during the 2010 Olympics, when many of the stereotypes, symbols, themes, and political workings of Canada will be disseminated into the U.S. media. As Canada is in the throes of presenting its tourist identity on the international stage, this exhibition can function as a way of transgressing this identity. Thus, the curators see this exhibition not as a response to the event of the Olympics but as an opportunity to subvert and play with cultural dialogue that will exist during this time.
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books
books
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January 2010
January 2010
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books
books
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$54.95
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An early version of the slide projector and an immediate predecessor of narrative cinema, the magic lantern provided the lens through which late-nineteenth century Europe and America viewed and imagined the world. Magic lantern slide shows were a popular, entertaining and educational way for people to learn about the world beyond their own horizons, and from Cairo to(...)
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An early version of the slide projector and an immediate predecessor of narrative cinema, the magic lantern provided the lens through which late-nineteenth century Europe and America viewed and imagined the world. Magic lantern slide shows were a popular, entertaining and educational way for people to learn about the world beyond their own horizons, and from Cairo to(...)
Title:
Memories of a lost world : travels through the magic lantern
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An early version of the slide projector and an immediate predecessor of narrative cinema, the magic lantern provided the lens through which late-nineteenth century Europe and America viewed and imagined the world. Magic lantern slide shows were a popular, entertaining and educational way for people to learn about the world beyond their own horizons, and from Cairo to Delhi to Adelaide and Cape Town, intrepid European and American photographers traveled to all corners of the world to document its peoples and customs. Now, for the first time, images of original magic lantern slides have been brought together in a single publication. Memories of a Lost World: Travels through the Magic Latern takes the reader back to a pre-globalised world in which regional customs and national cultures were as distinctive as they were diverse. From the bustling streets of Victorian London and the ruins of ancient Egypt to the temples of Japan and the tribesmen of New Guinea, Memories of a Lost World explores the world through a captivating collection of over 800 magic lantern slide images. This volume is not only an important source of primary historical information, but also conveys something of what the world was like before the advent of television and mass travel.
Memories of a lost world : travels through the magic lantern
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An early version of the slide projector and an immediate predecessor of narrative cinema, the magic lantern provided the lens through which late-nineteenth century Europe and America viewed and imagined the world. Magic lantern slide shows were a popular, entertaining and educational way for people to learn about the world beyond their own horizons, and from Cairo to Delhi to Adelaide and Cape Town, intrepid European and American photographers traveled to all corners of the world to document its peoples and customs. Now, for the first time, images of original magic lantern slides have been brought together in a single publication. Memories of a Lost World: Travels through the Magic Latern takes the reader back to a pre-globalised world in which regional customs and national cultures were as distinctive as they were diverse. From the bustling streets of Victorian London and the ruins of ancient Egypt to the temples of Japan and the tribesmen of New Guinea, Memories of a Lost World explores the world through a captivating collection of over 800 magic lantern slide images. This volume is not only an important source of primary historical information, but also conveys something of what the world was like before the advent of television and mass travel.
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books
books
Publication:
November 2012
November 2012
Subject:
Transportation, Tourism, Migration
Transportation, Tourism, Migration
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audio
audio
Title:
Pardon My French.
Pardon My French.
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1 online resource.
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[Place of publication not identified] : Junior Aspirin Records, 2013., [Place of publication not identified] : Stop Making Sense, 2013.
[Place of publication not identified] : Junior Aspirin Records, 2013., [Place of publication not identified] : Stop Making Sense, 2013.
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audio
audio
Publication:
[Place of publication not identified] : Junior Aspirin Records, 2013., [Place of publication not identified] : Stop Making Sense, 2013.
[Place of publication not identified] : Junior Aspirin Records, 2013., [Place of publication not identified] : Stop Making Sense, 2013.
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books
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$77.00
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Inspired by Chekhov's short stories--and by his own contagious joy in the book form--photographer Paul Graham has created A Shimmer of Possibility, comprised of 12 individual books, each a photographic short story of everyday life. Some are simple and linear--a man smokes a cigarette while he waits for a bus in Las Vegas, or the camera tracks an autumn walk in Boston.(...)
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Inspired by Chekhov's short stories--and by his own contagious joy in the book form--photographer Paul Graham has created A Shimmer of Possibility, comprised of 12 individual books, each a photographic short story of everyday life. Some are simple and linear--a man smokes a cigarette while he waits for a bus in Las Vegas, or the camera tracks an autumn walk in Boston.(...)
Title:
Paul Graham: a shimmer of possibility
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Inspired by Chekhov's short stories--and by his own contagious joy in the book form--photographer Paul Graham has created A Shimmer of Possibility, comprised of 12 individual books, each a photographic short story of everyday life. Some are simple and linear--a man smokes a cigarette while he waits for a bus in Las Vegas, or the camera tracks an autumn walk in Boston. Some entwine two, three or four scenes--while a couple carry their shopping home in Texas, a small child dances with a plastic bag in a garden. Some watch a quiet narrative break unexpectedly into a sublime moment--as a man cuts the grass in Pittsburgh it begins to rain, until the low sun breaks through and illuminates each drop. Graham's filmic haikus shun any forceful summation or tidy packaging. Instead, they create the impression of life flowing around and past us while we stand and stare, and make it hard not to share the artist's quiet astonishment with its beauty and grace. The 12 books gathered here are identical in trim size, but vary in length from just a single photograph to 60 pages of images made at one street corner. Paul Graham's work has been widely exhibited and published for 25 years, most recently in the book American Night.
Paul Graham: a shimmer of possibility
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Inspired by Chekhov's short stories--and by his own contagious joy in the book form--photographer Paul Graham has created A Shimmer of Possibility, comprised of 12 individual books, each a photographic short story of everyday life. Some are simple and linear--a man smokes a cigarette while he waits for a bus in Las Vegas, or the camera tracks an autumn walk in Boston. Some entwine two, three or four scenes--while a couple carry their shopping home in Texas, a small child dances with a plastic bag in a garden. Some watch a quiet narrative break unexpectedly into a sublime moment--as a man cuts the grass in Pittsburgh it begins to rain, until the low sun breaks through and illuminates each drop. Graham's filmic haikus shun any forceful summation or tidy packaging. Instead, they create the impression of life flowing around and past us while we stand and stare, and make it hard not to share the artist's quiet astonishment with its beauty and grace. The 12 books gathered here are identical in trim size, but vary in length from just a single photograph to 60 pages of images made at one street corner. Paul Graham's work has been widely exhibited and published for 25 years, most recently in the book American Night.
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books
books
Publication:
January 2009
January 2009
Subject:
Photography monographs
Photography monographs
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books
books
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Description:
xvi, 406 pages : illustrations (some color) ; 29 cm.
Description:
xvi, 406 pages : illustrations (some color) ; 29 cm.
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Publication:
Austin : University of Texas Press, [2014]
Austin : University of Texas Press, [2014]
Title:
Modern architecture in Latin America : art, technology, and utopia / Luis E. Carranza and Fernando Luiz Lara ; foreword by Jorge Francisco Liernur.
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xvi, 406 pages : illustrations (some color) ; 29 cm.
Modern architecture in Latin America : art, technology, and utopia / Luis E. Carranza and Fernando Luiz Lara ; foreword by Jorge Francisco Liernur.
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xvi, 406 pages : illustrations (some color) ; 29 cm.
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books
books
Publication:
Austin : University of Texas Press, [2014]
Austin : University of Texas Press, [2014]
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books
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$69.95
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An artist, curator, critic, and teacher, Ian Carr-Harris has been a central figure in Toronto’s art scene since the 1970s. By collecting his impressive output of essays, critical experiments, and reviews into a single volume, Tracings documents the growth of conceptual art and postmodernism in Canadian art, as well as the expansion of mediums and spaces, while providing(...)
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An artist, curator, critic, and teacher, Ian Carr-Harris has been a central figure in Toronto’s art scene since the 1970s. By collecting his impressive output of essays, critical experiments, and reviews into a single volume, Tracings documents the growth of conceptual art and postmodernism in Canadian art, as well as the expansion of mediums and spaces, while providing(...)
Title:
Tracings: Writing art, 1975-2020
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An artist, curator, critic, and teacher, Ian Carr-Harris has been a central figure in Toronto’s art scene since the 1970s. By collecting his impressive output of essays, critical experiments, and reviews into a single volume, Tracings documents the growth of conceptual art and postmodernism in Canadian art, as well as the expansion of mediums and spaces, while providing insights into methods of representation and the role of criticism in contemporary art. In clear and intelligent prose, Carr-Harris offers detailed studies of individual artists and exhibitions as well as theoretically informed reflections on broader cultural concerns. Whether writing about the complexities involved in the construction and transmission of knowledge, meaning, and historical narrative; discussing the material matters of government cultural funding, patronage, and artist-run centres; or describing his own process and artworks, these pieces reveal a literary love of language and a nuanced and investigative mind at work. Throughout his writing, he considers themes of identity, cultural nationalism, postcolonialism, institutionalism, the act of viewing, and relations of power. An introduction by Dan Adler situates Carr-Harris’s work within the context of his contemporaries, collaborators, and cultural environment, pointing out the mutually reinforcing qualities and relationships between his art and his writing. Covering decades of critical thought and engagement, "Tracings" confirms why Ian Carr-Harris has indelibly written himself into Canadian art.
Tracings: Writing art, 1975-2020
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An artist, curator, critic, and teacher, Ian Carr-Harris has been a central figure in Toronto’s art scene since the 1970s. By collecting his impressive output of essays, critical experiments, and reviews into a single volume, Tracings documents the growth of conceptual art and postmodernism in Canadian art, as well as the expansion of mediums and spaces, while providing insights into methods of representation and the role of criticism in contemporary art. In clear and intelligent prose, Carr-Harris offers detailed studies of individual artists and exhibitions as well as theoretically informed reflections on broader cultural concerns. Whether writing about the complexities involved in the construction and transmission of knowledge, meaning, and historical narrative; discussing the material matters of government cultural funding, patronage, and artist-run centres; or describing his own process and artworks, these pieces reveal a literary love of language and a nuanced and investigative mind at work. Throughout his writing, he considers themes of identity, cultural nationalism, postcolonialism, institutionalism, the act of viewing, and relations of power. An introduction by Dan Adler situates Carr-Harris’s work within the context of his contemporaries, collaborators, and cultural environment, pointing out the mutually reinforcing qualities and relationships between his art and his writing. Covering decades of critical thought and engagement, "Tracings" confirms why Ian Carr-Harris has indelibly written himself into Canadian art.
Form:
books
books
Publication:
November 2024
November 2024
Subject:
Art Theory
Art Theory
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books
books
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$79.00
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Summary:
The art of producing color in movies is a fascinating process with a long history. Many people don’t realize that, as early as the 1890s, much of silent cinema was in color. They also may not know that women were the main workforce behind the techniques that first produced these effects, a tradition that continued as the practice evolved. Breakthroughs in color technology(...)
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Summary:
The art of producing color in movies is a fascinating process with a long history. Many people don’t realize that, as early as the 1890s, much of silent cinema was in color. They also may not know that women were the main workforce behind the techniques that first produced these effects, a tradition that continued as the practice evolved. Breakthroughs in color technology(...)
Subject:
Architecture and Film, Set Design
Architecture and Film, Set Design
Publication:
October 2024
October 2024
Title:
Color in motion: Chromatic explorations of cinema
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$79.00
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Summary:
The art of producing color in movies is a fascinating process with a long history. Many people don’t realize that, as early as the 1890s, much of silent cinema was in color. They also may not know that women were the main workforce behind the techniques that first produced these effects, a tradition that continued as the practice evolved. Breakthroughs in color technology have created ongoing opportunities for filmmakers to experiment with new forms of narrative and emotional storytelling. Spectacular, psychological and sensory, color has become an integral part of the cinematic experience. From the earliest hand-painted films to Technicolor and today’s digital cinema, Color in Motion takes readers on a journey through the evolution and significance of color in film. Presenting insightful analysis, engaging case studies and inspiring conversations with scholars and experts in the field, with topics ranging from animation to the intersections of color and race in cinema, it traces the historical development of color technologies and their impact onscreen. Incorporating vivid images of color films throughout history—Serpentine Dance, The Cabinet of Dr. Caligari, Fantasia, The Red Shoes, Vertigo, West Side Story, 2001: A Space Odyssey, Moonlight and more, as well as new multispectral scans of rare silent-era film prints—this essential volume celebrates color’s enduring influence on the medium of film.
Color in motion: Chromatic explorations of cinema
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$79.00
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Summary:
The art of producing color in movies is a fascinating process with a long history. Many people don’t realize that, as early as the 1890s, much of silent cinema was in color. They also may not know that women were the main workforce behind the techniques that first produced these effects, a tradition that continued as the practice evolved. Breakthroughs in color technology have created ongoing opportunities for filmmakers to experiment with new forms of narrative and emotional storytelling. Spectacular, psychological and sensory, color has become an integral part of the cinematic experience. From the earliest hand-painted films to Technicolor and today’s digital cinema, Color in Motion takes readers on a journey through the evolution and significance of color in film. Presenting insightful analysis, engaging case studies and inspiring conversations with scholars and experts in the field, with topics ranging from animation to the intersections of color and race in cinema, it traces the historical development of color technologies and their impact onscreen. Incorporating vivid images of color films throughout history—Serpentine Dance, The Cabinet of Dr. Caligari, Fantasia, The Red Shoes, Vertigo, West Side Story, 2001: A Space Odyssey, Moonlight and more, as well as new multispectral scans of rare silent-era film prints—this essential volume celebrates color’s enduring influence on the medium of film.
Form:
books
books
Publication:
October 2024
October 2024
Subject:
Architecture and Film, Set Design
Architecture and Film, Set Design
Form:
books
books
Title:
Anna Tsitsishvili: Tbilisi
Anna Tsitsishvili: Tbilisi
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Anna Tsitsishvili’s Tbilisi delivers us a contemporary outlook on Georgia’s vibrant capital at the crossroads between East and West. Her photobook attests that photography can play a role in putting the city back on the map by creating a new visual narrative that transcends the past to embrace authentic moments. Notably, the Soviet era has provided us with a glossy(...)
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Anna Tsitsishvili’s Tbilisi delivers us a contemporary outlook on Georgia’s vibrant capital at the crossroads between East and West. Her photobook attests that photography can play a role in putting the city back on the map by creating a new visual narrative that transcends the past to embrace authentic moments. Notably, the Soviet era has provided us with a glossy(...)
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Anna Tsitsishvili: Tbilisi
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Anna Tsitsishvili’s Tbilisi delivers us a contemporary outlook on Georgia’s vibrant capital at the crossroads between East and West. Her photobook attests that photography can play a role in putting the city back on the map by creating a new visual narrative that transcends the past to embrace authentic moments. Notably, the Soviet era has provided us with a glossy portrayal of the city under the empire, with the aim to convey some specific values through photography that is typical of regimes. However, after the collapse of the Soviet Union, a subtle melancholy has seeped into those photographs. This sentiment reflected the post-imperial events and the Russian occupation, which have left an indelible mark on the entire country, the city, and its inhabitants. A new generation of photographers though has emerged in the past years, with a vision that tries to respond to that sentiment by going beyond the façade and breaking ties with the past. In their images the city looks past the streets, the buildings and the cityscapes. They venture into courtyards, homes, into the private life of people and their sincere details. Anna Tsitsishvili does so too – with her photobook she captivates us primarily with her genuineness. From sumptuous old apartments to lived contemporary rooms, from daily commutes to encounters in the busy streets, a sense of everyday poetry permeates her all-color selection.
Anna Tsitsishvili: Tbilisi
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Anna Tsitsishvili’s Tbilisi delivers us a contemporary outlook on Georgia’s vibrant capital at the crossroads between East and West. Her photobook attests that photography can play a role in putting the city back on the map by creating a new visual narrative that transcends the past to embrace authentic moments. Notably, the Soviet era has provided us with a glossy portrayal of the city under the empire, with the aim to convey some specific values through photography that is typical of regimes. However, after the collapse of the Soviet Union, a subtle melancholy has seeped into those photographs. This sentiment reflected the post-imperial events and the Russian occupation, which have left an indelible mark on the entire country, the city, and its inhabitants. A new generation of photographers though has emerged in the past years, with a vision that tries to respond to that sentiment by going beyond the façade and breaking ties with the past. In their images the city looks past the streets, the buildings and the cityscapes. They venture into courtyards, homes, into the private life of people and their sincere details. Anna Tsitsishvili does so too – with her photobook she captivates us primarily with her genuineness. From sumptuous old apartments to lived contemporary rooms, from daily commutes to encounters in the busy streets, a sense of everyday poetry permeates her all-color selection.
Form:
books
books
Publication:
June 2024
June 2024
Subject:
Photography monographs
Photography monographs
Form:
books
books
Price:
$34.95
(available in store)
Summary:
National historic sites commemorate decisive moments in the making of Canada. But seen through an environmental lens, these sites become artifacts of a bigger story: the occupation and transformation of nature into nation. In an age of pressing discussions about environmental sustainability, there is a growing need to know more about the history of our relationship with(...)
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National historic sites commemorate decisive moments in the making of Canada. But seen through an environmental lens, these sites become artifacts of a bigger story: the occupation and transformation of nature into nation. In an age of pressing discussions about environmental sustainability, there is a growing need to know more about the history of our relationship with(...)
Title:
Nature, place, and story: rethinking historic sites in Canada
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National historic sites commemorate decisive moments in the making of Canada. But seen through an environmental lens, these sites become artifacts of a bigger story: the occupation and transformation of nature into nation. In an age of pressing discussions about environmental sustainability, there is a growing need to know more about the history of our relationship with the natural world and what lessons these places of public history, regional identity, and national narrative can teach us. "Nature, place, and story" provides new interpretations for five of Canada’s largest and most iconic historic sites (two of which are UNESCO World Heritage Sites): L’Anse aux Meadows, Newfoundland; Grand Pré, Nova Scotia; Fort William, Ontario; the Forks of the Red River, Manitoba; and the Bar U Ranch, Alberta. At each location, Claire Campbell rewrites public history as environmental history, revealing the country’s debt to the power and fragility of the natural world, and the relevance of the past to understanding climate change, agricultural sustainability, wilderness protection, urban reclamation, and fossil fuel extraction. From the medieval Atlantic to modern ranchlands, environmental history speaks directly to contemporary questions about the health of Canada’s habitat. Bringing together public and environmental history in an entirely new way, "Nature, place, and story" is a lively and ambitious call for a fresh perspective on natural heritage.
Nature, place, and story: rethinking historic sites in Canada
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$34.95
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Summary:
National historic sites commemorate decisive moments in the making of Canada. But seen through an environmental lens, these sites become artifacts of a bigger story: the occupation and transformation of nature into nation. In an age of pressing discussions about environmental sustainability, there is a growing need to know more about the history of our relationship with the natural world and what lessons these places of public history, regional identity, and national narrative can teach us. "Nature, place, and story" provides new interpretations for five of Canada’s largest and most iconic historic sites (two of which are UNESCO World Heritage Sites): L’Anse aux Meadows, Newfoundland; Grand Pré, Nova Scotia; Fort William, Ontario; the Forks of the Red River, Manitoba; and the Bar U Ranch, Alberta. At each location, Claire Campbell rewrites public history as environmental history, revealing the country’s debt to the power and fragility of the natural world, and the relevance of the past to understanding climate change, agricultural sustainability, wilderness protection, urban reclamation, and fossil fuel extraction. From the medieval Atlantic to modern ranchlands, environmental history speaks directly to contemporary questions about the health of Canada’s habitat. Bringing together public and environmental history in an entirely new way, "Nature, place, and story" is a lively and ambitious call for a fresh perspective on natural heritage.
Form:
books
books
Publication:
August 2017
August 2017
Subject:
Architecture in Canada
Architecture in Canada
Form:
books
books
Title:
David Freund: gas stop
David Freund: gas stop
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$162.50
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Summary:
In the twentieth century, any American driver or passenger would stop at gas stations at least weekly, and not just for gas. Gas stations were also oases offering food and drink, car repairs, directions, maps and, importantly, bathrooms. Yet, beyond their appreciation as roadside novelties, their offerings to American culture, landscape and history have been little(...)
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Summary:
In the twentieth century, any American driver or passenger would stop at gas stations at least weekly, and not just for gas. Gas stations were also oases offering food and drink, car repairs, directions, maps and, importantly, bathrooms. Yet, beyond their appreciation as roadside novelties, their offerings to American culture, landscape and history have been little(...)
Title:
David Freund: gas stop
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$162.50
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In the twentieth century, any American driver or passenger would stop at gas stations at least weekly, and not just for gas. Gas stations were also oases offering food and drink, car repairs, directions, maps and, importantly, bathrooms. Yet, beyond their appreciation as roadside novelties, their offerings to American culture, landscape and history have been little photographed. From 1978 to 1981, David Freund analyzed the culture, architecture and landscape of gas stations in more than forty states. The photographs show customers and workers in postures and actions peculiar to gassing up, or just hanging out. Architecture and signage, both corporate and vernacular, beckon passing drivers. Regional landscapes hold and surround gas stations, each with its own landscape of designed plantings or scrappy volunteers. Stations were also outposts for American networks other than petroleum, seen in telephone booths, mailboxes and powerlines. These and all that surrounds them spark recognition and recollection, accruing as elements of a nonlinear American narrative. While Freund’s primary concern is for his photographs to engage and surprise, he acknowledges nostalgia and uses it to imbue his subjects with a compelling sense of belonging. Of more than 200,000 gas stations in the United States at the time of this project, today they and their roles are mostly gone, existing now in memory and in this work. Four hardcover books housed in a slipcase
David Freund: gas stop
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$162.50
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In the twentieth century, any American driver or passenger would stop at gas stations at least weekly, and not just for gas. Gas stations were also oases offering food and drink, car repairs, directions, maps and, importantly, bathrooms. Yet, beyond their appreciation as roadside novelties, their offerings to American culture, landscape and history have been little photographed. From 1978 to 1981, David Freund analyzed the culture, architecture and landscape of gas stations in more than forty states. The photographs show customers and workers in postures and actions peculiar to gassing up, or just hanging out. Architecture and signage, both corporate and vernacular, beckon passing drivers. Regional landscapes hold and surround gas stations, each with its own landscape of designed plantings or scrappy volunteers. Stations were also outposts for American networks other than petroleum, seen in telephone booths, mailboxes and powerlines. These and all that surrounds them spark recognition and recollection, accruing as elements of a nonlinear American narrative. While Freund’s primary concern is for his photographs to engage and surprise, he acknowledges nostalgia and uses it to imbue his subjects with a compelling sense of belonging. Of more than 200,000 gas stations in the United States at the time of this project, today they and their roles are mostly gone, existing now in memory and in this work. Four hardcover books housed in a slipcase
Form:
books
books
Publication:
January 2017
January 2017
Subject:
Photography monographs
Photography monographs
