books
Description:
174 pages : illustrations (some color) ; 22 cm
Rotterdam : NAi, 2002.
Duurzaam huisvesten : een leidraad voor strategisch denken = Buildings that last : guidelines for strategic thinking / Joost van Kasteren [and others].
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Description:
174 pages : illustrations (some color) ; 22 cm
books
Rotterdam : NAi, 2002.
$72.00
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Summary:
Gerhard Richter is famed for the photorealism of his early canvases, but it is less well known that he has also painted directly onto photographic prints. This book gathers this body of work, which unites the labor of the hand with the work of mechanical reproduction to produce a kind of art as conceptually rich as Richter's better-known paintings, neutralizing the(...)
Gerhard Richter: overpainted photographs
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$72.00
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Summary:
Gerhard Richter is famed for the photorealism of his early canvases, but it is less well known that he has also painted directly onto photographic prints. This book gathers this body of work, which unites the labor of the hand with the work of mechanical reproduction to produce a kind of art as conceptually rich as Richter's better-known paintings, neutralizing the expressive powers of each medium to reach an indifference to their potency.
Contemporary Art Monographs
Nonhuman photography
$49.95
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Summary:
Today, in the age of CCTV, drones, medical body scans, and satellite images, photography is increasingly decoupled from human agency and human vision. In Nonhuman Photography, Joanna Zylinska offers a new philosophy of photography, going beyond the human-centric view to consider imaging practices from which the human is absent. Zylinska argues further that even those(...)
Nonhuman photography
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$49.95
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Summary:
Today, in the age of CCTV, drones, medical body scans, and satellite images, photography is increasingly decoupled from human agency and human vision. In Nonhuman Photography, Joanna Zylinska offers a new philosophy of photography, going beyond the human-centric view to consider imaging practices from which the human is absent. Zylinska argues further that even those images produced by humans, whether artists or amateurs, entail a nonhuman, mechanical element—that is, they involve the execution of technical and cultural algorithms that shape our image-making devices as well as our viewing practices. At the same time, she notes, photography is increasingly mobilized to document the precariousness of the human habitat and tasked with helping us imagine a better tomorrow. With its conjoined human-nonhuman agency and vision, Zylinska claims, photography functions as both a form of control and a life-shaping force.
Theory of Photography
Riding modern art
$33.95
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''Riding modern art'' brings together a collection of 70 black and white photographs of people skateboarding on sculptures in public spaces. Through his study of the process of appropriation and reuse of works of art in public places, used by skateboarders as further challenges for their sport, Raphaël Zarka offers a way of approaching a work of art that underlines the(...)
Riding modern art
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$33.95
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Summary:
''Riding modern art'' brings together a collection of 70 black and white photographs of people skateboarding on sculptures in public spaces. Through his study of the process of appropriation and reuse of works of art in public places, used by skateboarders as further challenges for their sport, Raphaël Zarka offers a way of approaching a work of art that underlines the dynamism of modern sculpture, casting a critical light on the idea of movement in these often abstract and geometric works, inspired by Cubist, Futurist or Constructivist art. The skateboarder’s approach to a sculpture, more mechanical than conceptual, brings out the variety of movement it seeks to suggest. While it is not possible to ''freeze'' or represent movement in a solid form (it cannot be sculpted) it is, nevertheless, a constituent element of the work, as also is space. Thus, the body of the skateboarder becomes a choreographic form on a sculptural form, and the presence of a human body on a work of art transforms it from something perched on a pedestal into a living sculpture. Some images are missing from this collection, as sculptors have refused to see their artwork reproduced. The spaces dedicated to those photographs remain purposely empty.
Photography monographs