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Photography and Germany
Photography and Germany
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The meeting of photography and Germany evokes pioneering modernist pictures from the Weimar era and colossal digital prints that define the medium’s art practice today. It also recalls horrifying documents of wartime atrocity and the relentless surveillance of East German citizens. This publication broadens these perceptions by examining photography’s multi-faceted(...)
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The meeting of photography and Germany evokes pioneering modernist pictures from the Weimar era and colossal digital prints that define the medium’s art practice today. It also recalls horrifying documents of wartime atrocity and the relentless surveillance of East German citizens. This publication broadens these perceptions by examining photography’s multi-faceted(...)
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Photography and Germany
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The meeting of photography and Germany evokes pioneering modernist pictures from the Weimar era and colossal digital prints that define the medium’s art practice today. It also recalls horrifying documents of wartime atrocity and the relentless surveillance of East German citizens. This publication broadens these perceptions by examining photography’s multi-faceted relationship with Germany’s turbulent cultural, political and social history. It shows how many of the same phenomena that helped generate the country’s most recognizable photographs also led to a range of lesser-known pictures that similarly documented or negotiated Germany’s cultural identity and historical ruptures.
Photography and Germany
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The meeting of photography and Germany evokes pioneering modernist pictures from the Weimar era and colossal digital prints that define the medium’s art practice today. It also recalls horrifying documents of wartime atrocity and the relentless surveillance of East German citizens. This publication broadens these perceptions by examining photography’s multi-faceted relationship with Germany’s turbulent cultural, political and social history. It shows how many of the same phenomena that helped generate the country’s most recognizable photographs also led to a range of lesser-known pictures that similarly documented or negotiated Germany’s cultural identity and historical ruptures.
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books
books
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May 2017
May 2017
Subject:
Theory of Photography
Theory of Photography
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In 1978, Zofia Rydet (1911–97) began work on a monumental project that would come to be known as her ''Sociological Record'': photographing the people of Poland at their homes, she produced an extraordinary archive of around twenty thousand negatives. The undertaking consumed Rydet so completely that she was never able to give it final shape through a book or an art show.(...)
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In 1978, Zofia Rydet (1911–97) began work on a monumental project that would come to be known as her ''Sociological Record'': photographing the people of Poland at their homes, she produced an extraordinary archive of around twenty thousand negatives. The undertaking consumed Rydet so completely that she was never able to give it final shape through a book or an art show.(...)
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Object lessons: Zofia Rydet's 'Sociological record'
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In 1978, Zofia Rydet (1911–97) began work on a monumental project that would come to be known as her ''Sociological Record'': photographing the people of Poland at their homes, she produced an extraordinary archive of around twenty thousand negatives. The undertaking consumed Rydet so completely that she was never able to give it final shape through a book or an art show. ''Object Lessons'', a new volume of essays inspired by an exhibition at the Museum of Modern Art in Warsaw, helps to dispel the myths that have formed around the project in recent years and introduces the photographer to a new global audience. Rydet herself remained unresolved over the question of how to define her work, leaving the viewer to ponder whether her magnum opus is a piece of art or science. What does remain undisputed is that ''Sociological Record'' is a striking testimony of its time.
Object lessons: Zofia Rydet's 'Sociological record'
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In 1978, Zofia Rydet (1911–97) began work on a monumental project that would come to be known as her ''Sociological Record'': photographing the people of Poland at their homes, she produced an extraordinary archive of around twenty thousand negatives. The undertaking consumed Rydet so completely that she was never able to give it final shape through a book or an art show. ''Object Lessons'', a new volume of essays inspired by an exhibition at the Museum of Modern Art in Warsaw, helps to dispel the myths that have formed around the project in recent years and introduces the photographer to a new global audience. Rydet herself remained unresolved over the question of how to define her work, leaving the viewer to ponder whether her magnum opus is a piece of art or science. What does remain undisputed is that ''Sociological Record'' is a striking testimony of its time.
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books
books
Publication:
July 2018
July 2018
Subject:
Theory of Photography
Theory of Photography
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books
books
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L’administration des Monuments historiques a rassemblé aux 19e et 20e siècles une collection photographique qui compte à l’heure actuelle au moins quinze millions de négatifs et quatre millions de tirages. Après la Mission héliographique de 1851, première commande photographique de l’État, la collection se développe véritablement à partir de 1875 et va peu à peu s’étendre(...)
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L’administration des Monuments historiques a rassemblé aux 19e et 20e siècles une collection photographique qui compte à l’heure actuelle au moins quinze millions de négatifs et quatre millions de tirages. Après la Mission héliographique de 1851, première commande photographique de l’État, la collection se développe véritablement à partir de 1875 et va peu à peu s’étendre(...)
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Photographier le patrimoine aux 19e et 20e siècles
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L’administration des Monuments historiques a rassemblé aux 19e et 20e siècles une collection photographique qui compte à l’heure actuelle au moins quinze millions de négatifs et quatre millions de tirages. Après la Mission héliographique de 1851, première commande photographique de l’État, la collection se développe véritablement à partir de 1875 et va peu à peu s’étendre à tous les domaines des arts. Le Gray et Baldus y côtoient Mieusement et Marville, Atget et Nadar, pour ne citer que quelques-uns des plus célèbres photographes représentés. Avec la première guerre mondiale et la création de la Section photographique et cinématographique de l'Armée, c’est une nouvelle dimension qui est abordée, celle de l’actualité de guerre. Cette histoire est celle des nombreux services et des personnes qui se sont attachés à constituer ces fonds de photographies, à les préserver, à les développer pour répondre aux besoins d’inventaire et de rayonnement de notre patrimoine national. La Médiathèque de l’architecture et du patrimoine assume désormais la charge de cette collection photographique inestimable, sans doute l’une des plus riches d’Europe. Publié à l’occasion du vingtième anniversaire de la MAP, l’ouvrage d’Anne Fourestié et Isabelle Gui retrace cent cinquante ans d’histoire de la photographie en s’appuyant sur des fonds d’archives méconnus.
Photographier le patrimoine aux 19e et 20e siècles
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L’administration des Monuments historiques a rassemblé aux 19e et 20e siècles une collection photographique qui compte à l’heure actuelle au moins quinze millions de négatifs et quatre millions de tirages. Après la Mission héliographique de 1851, première commande photographique de l’État, la collection se développe véritablement à partir de 1875 et va peu à peu s’étendre à tous les domaines des arts. Le Gray et Baldus y côtoient Mieusement et Marville, Atget et Nadar, pour ne citer que quelques-uns des plus célèbres photographes représentés. Avec la première guerre mondiale et la création de la Section photographique et cinématographique de l'Armée, c’est une nouvelle dimension qui est abordée, celle de l’actualité de guerre. Cette histoire est celle des nombreux services et des personnes qui se sont attachés à constituer ces fonds de photographies, à les préserver, à les développer pour répondre aux besoins d’inventaire et de rayonnement de notre patrimoine national. La Médiathèque de l’architecture et du patrimoine assume désormais la charge de cette collection photographique inestimable, sans doute l’une des plus riches d’Europe. Publié à l’occasion du vingtième anniversaire de la MAP, l’ouvrage d’Anne Fourestié et Isabelle Gui retrace cent cinquante ans d’histoire de la photographie en s’appuyant sur des fonds d’archives méconnus.
Form:
books
books
Publication:
January 2017
January 2017
Subject:
Theory of Photography
Theory of Photography
Form:
books
books
Title:
Photography and doubt
Photography and doubt
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Recent decades have seen photography’s privileged relationship to the real come under question. Spurred by the postmodern critique of photography in the 1980s and the rise of digital technologies soon thereafter, scholars have been asking who and what built this understanding of the medium in the first place. "Photography and doubt" reflects on this interest in(...)
$69.90
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Summary:
Recent decades have seen photography’s privileged relationship to the real come under question. Spurred by the postmodern critique of photography in the 1980s and the rise of digital technologies soon thereafter, scholars have been asking who and what built this understanding of the medium in the first place. "Photography and doubt" reflects on this interest in(...)
Subject:
Theory of Photography
Theory of Photography
Publication:
January 2017
January 2017
Title:
Photography and doubt
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$69.90
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Recent decades have seen photography’s privileged relationship to the real come under question. Spurred by the postmodern critique of photography in the 1980s and the rise of digital technologies soon thereafter, scholars have been asking who and what built this understanding of the medium in the first place. "Photography and doubt" reflects on this interest in photography’s referential power by discussing it in rigorously historical terms. How was the understanding of photographic realism cultivated in the first place? What do cases of staged and manipulated photography reveal about that realism’s hold on audiences across the medium’s history? Have doubts about photography’s testimonial power stimulated as much knowledge as its realism?
Photography and doubt
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$69.90
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Summary:
Recent decades have seen photography’s privileged relationship to the real come under question. Spurred by the postmodern critique of photography in the 1980s and the rise of digital technologies soon thereafter, scholars have been asking who and what built this understanding of the medium in the first place. "Photography and doubt" reflects on this interest in photography’s referential power by discussing it in rigorously historical terms. How was the understanding of photographic realism cultivated in the first place? What do cases of staged and manipulated photography reveal about that realism’s hold on audiences across the medium’s history? Have doubts about photography’s testimonial power stimulated as much knowledge as its realism?
Form:
books
books
Publication:
January 2017
January 2017
Subject:
Theory of Photography
Theory of Photography
Form:
books
books
Price:
$63.95
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Summary:
Polaroid instant photography revolutionized the taking and making of pictures, and the story of its beginnings is a simple one. In 1943, after being asked by his daughter why she couldn’t immediately see the photograph he had just taken, American inventor and scientist Edwin H. Land conceived of the technology required to make this seemingly impossible demand a(...)
$63.95
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Summary:
Polaroid instant photography revolutionized the taking and making of pictures, and the story of its beginnings is a simple one. In 1943, after being asked by his daughter why she couldn’t immediately see the photograph he had just taken, American inventor and scientist Edwin H. Land conceived of the technology required to make this seemingly impossible demand a(...)
Title:
The Polaroid project: at the intersection of art and technology
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Polaroid instant photography revolutionized the taking and making of pictures, and the story of its beginnings is a simple one. In 1943, after being asked by his daughter why she couldn’t immediately see the photograph he had just taken, American inventor and scientist Edwin H. Land conceived of the technology required to make this seemingly impossible demand a reality—within an hour. Land’s creation was a groundbreaking scientific accomplishment that also heralded an exciting new chapter of artistic expression. Through the efforts of thousands of photographers the world over, as well as the corporation’s own artist support program, which provided many with materials, Polaroid would help shape the artistic landscape of the late twentieth century. Published to accompany a major traveling exhibition, "The Polaroid project" is a creative exploration of the relationship between Polaroid’s many technological innovations and the art that was created with their help. Richly designed with over 300 illustrations, this impressive volume showcases not only the myriad and often idiosyncratic approaches taken by such photographers as Ansel Adams, Robert Mapplethorpe, Ellen Carey, and Chuck Close, but also a fascinating selection of the technical objects and artifacts that speak to the sheer ingenuity that lay behind the art. With essays by the exhibition’s curators and leading photographic writers and historians, "The Polaroid project" provides a unique perspective on the Polaroid phenomenon—a technology, an art form, a convergence of both—and its enduring cultural legacy.
The Polaroid project: at the intersection of art and technology
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Polaroid instant photography revolutionized the taking and making of pictures, and the story of its beginnings is a simple one. In 1943, after being asked by his daughter why she couldn’t immediately see the photograph he had just taken, American inventor and scientist Edwin H. Land conceived of the technology required to make this seemingly impossible demand a reality—within an hour. Land’s creation was a groundbreaking scientific accomplishment that also heralded an exciting new chapter of artistic expression. Through the efforts of thousands of photographers the world over, as well as the corporation’s own artist support program, which provided many with materials, Polaroid would help shape the artistic landscape of the late twentieth century. Published to accompany a major traveling exhibition, "The Polaroid project" is a creative exploration of the relationship between Polaroid’s many technological innovations and the art that was created with their help. Richly designed with over 300 illustrations, this impressive volume showcases not only the myriad and often idiosyncratic approaches taken by such photographers as Ansel Adams, Robert Mapplethorpe, Ellen Carey, and Chuck Close, but also a fascinating selection of the technical objects and artifacts that speak to the sheer ingenuity that lay behind the art. With essays by the exhibition’s curators and leading photographic writers and historians, "The Polaroid project" provides a unique perspective on the Polaroid phenomenon—a technology, an art form, a convergence of both—and its enduring cultural legacy.
Form:
books
books
Publication:
June 2017
June 2017
Subject:
Theory of Photography
Theory of Photography
Form:
books
books
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$15.95
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""La solitude heureuse du voyageur" est un choix de photographies tiré de mes voyages, rempli de déserts, de villes et de chambres d'hôtel. Comme pour "Notes", mon premier livre fondateur, il y a toujours la place d'une femme aimée au bord du cadre, comme si je photographiais mon désir et que le paysage me renvoyait un moi enfin apaisé." R. Depardon
$15.95
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""La solitude heureuse du voyageur" est un choix de photographies tiré de mes voyages, rempli de déserts, de villes et de chambres d'hôtel. Comme pour "Notes", mon premier livre fondateur, il y a toujours la place d'une femme aimée au bord du cadre, comme si je photographiais mon désir et que le paysage me renvoyait un moi enfin apaisé." R. Depardon
Title:
La solitude heureuse du voyageur
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""La solitude heureuse du voyageur" est un choix de photographies tiré de mes voyages, rempli de déserts, de villes et de chambres d'hôtel. Comme pour "Notes", mon premier livre fondateur, il y a toujours la place d'une femme aimée au bord du cadre, comme si je photographiais mon désir et que le paysage me renvoyait un moi enfin apaisé." R. Depardon
La solitude heureuse du voyageur
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$15.95
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""La solitude heureuse du voyageur" est un choix de photographies tiré de mes voyages, rempli de déserts, de villes et de chambres d'hôtel. Comme pour "Notes", mon premier livre fondateur, il y a toujours la place d'une femme aimée au bord du cadre, comme si je photographiais mon désir et que le paysage me renvoyait un moi enfin apaisé." R. Depardon
Form:
books
books
Publication:
July 2017
July 2017
Subject:
Theory of Photography
Theory of Photography
Form:
books
books
Title:
Nonhuman photography
Nonhuman photography
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$49.95
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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(...)
$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(...)
Title:
Nonhuman photography
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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.
Nonhuman photography
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$49.95
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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.
Form:
books
books
Publication:
November 2017
November 2017
Subject:
Theory of Photography
Theory of Photography
Form:
books
books
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$25.95
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Engagé dans un projet artistique, Philippe Bazin prend parti et analyse des oeuvres de Lewis Baltz, Allan Sekula, Martha Rosler ou encore Bruno Serralongue, ainsi que de photographes moins connus comme Géraldine Millo, David Marié ou Mahaut Lavoine. Les textes rassemblés créent une unité de réflexion autour d'une photographie critique des contextes historiques,(...)
$25.95
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Summary:
Engagé dans un projet artistique, Philippe Bazin prend parti et analyse des oeuvres de Lewis Baltz, Allan Sekula, Martha Rosler ou encore Bruno Serralongue, ainsi que de photographes moins connus comme Géraldine Millo, David Marié ou Mahaut Lavoine. Les textes rassemblés créent une unité de réflexion autour d'une photographie critique des contextes historiques,(...)
Title:
Pour une photographie documentaire critique
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Engagé dans un projet artistique, Philippe Bazin prend parti et analyse des oeuvres de Lewis Baltz, Allan Sekula, Martha Rosler ou encore Bruno Serralongue, ainsi que de photographes moins connus comme Géraldine Millo, David Marié ou Mahaut Lavoine. Les textes rassemblés créent une unité de réflexion autour d'une photographie critique des contextes historiques, esthétiques et idéologiques dans lesquels elle se crée aujourd'hui, une "photographie documentaire critique". Chaque texte ouvre une nouvelle facette de cette photographie, alors que l'ensemble est introduit par un texte qui entend proposer une méthodologie de travail, une "attitude documentaire". Le livre explore ainsi les apports d'une posture critique, dans tous les sens du terme - appréciation, épreuve, seuil, distance, tension, crise, analyse - et s'achève par la formulation d'un "manifeste documentaire" (écrit avec la philosophe Christiane Vollaire).
Pour une photographie documentaire critique
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$25.95
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Engagé dans un projet artistique, Philippe Bazin prend parti et analyse des oeuvres de Lewis Baltz, Allan Sekula, Martha Rosler ou encore Bruno Serralongue, ainsi que de photographes moins connus comme Géraldine Millo, David Marié ou Mahaut Lavoine. Les textes rassemblés créent une unité de réflexion autour d'une photographie critique des contextes historiques, esthétiques et idéologiques dans lesquels elle se crée aujourd'hui, une "photographie documentaire critique". Chaque texte ouvre une nouvelle facette de cette photographie, alors que l'ensemble est introduit par un texte qui entend proposer une méthodologie de travail, une "attitude documentaire". Le livre explore ainsi les apports d'une posture critique, dans tous les sens du terme - appréciation, épreuve, seuil, distance, tension, crise, analyse - et s'achève par la formulation d'un "manifeste documentaire" (écrit avec la philosophe Christiane Vollaire).
Form:
books
books
Publication:
October 2017
October 2017
Subject:
Theory of Photography
Theory of Photography
Form:
books
books
Price:
$54.95
(available to order)
Summary:
Réalité éminemment subjective, objet vivant et évolutif, le paysage reflète aussi à travers ses mutations les transformations de la société. Ancré historiquement dans l’art des jardins, le projet de paysage a rencontré plus récemment de nouvelles échelles avec l’aménagement des villes et des territoires, suscitant argumentations et débats. Dès ses origines, la(...)
$54.95
(available to order)
Summary:
Réalité éminemment subjective, objet vivant et évolutif, le paysage reflète aussi à travers ses mutations les transformations de la société. Ancré historiquement dans l’art des jardins, le projet de paysage a rencontré plus récemment de nouvelles échelles avec l’aménagement des villes et des territoires, suscitant argumentations et débats. Dès ses origines, la(...)
Title:
Photopaysage : débattre du projet de paysage par la photographie
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Réalité éminemment subjective, objet vivant et évolutif, le paysage reflète aussi à travers ses mutations les transformations de la société. Ancré historiquement dans l’art des jardins, le projet de paysage a rencontré plus récemment de nouvelles échelles avec l’aménagement des villes et des territoires, suscitant argumentations et débats. Dès ses origines, la photographie a été associée au paysage pour le documenter, témoigner de ses évolutions, le promouvoir, le défendre. Le rôle de la photographie est bien sûr variable en fonction des contextes culturels et des périodes historiques et renvoie à des situations de commande variées.
Photopaysage : débattre du projet de paysage par la photographie
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$54.95
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Summary:
Réalité éminemment subjective, objet vivant et évolutif, le paysage reflète aussi à travers ses mutations les transformations de la société. Ancré historiquement dans l’art des jardins, le projet de paysage a rencontré plus récemment de nouvelles échelles avec l’aménagement des villes et des territoires, suscitant argumentations et débats. Dès ses origines, la photographie a été associée au paysage pour le documenter, témoigner de ses évolutions, le promouvoir, le défendre. Le rôle de la photographie est bien sûr variable en fonction des contextes culturels et des périodes historiques et renvoie à des situations de commande variées.
Form:
books
books
Publication:
February 2018
February 2018
Subject:
Theory of Photography
Theory of Photography
Form:
books
books
Actions:
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$90.00
(available to order)
Summary:
Dyer takes the viewer/reader on a wildly original journey through both iconic and unseen images from the archive, including eighteen previously unpublished color photographs. The book encompasses most of Winogrand’s themes and subjects and remains broadly faithful to the chronological and geographical facts of his life, but Dyer’s responses to the photographs are(...)
$90.00
(available to order)
Summary:
Dyer takes the viewer/reader on a wildly original journey through both iconic and unseen images from the archive, including eighteen previously unpublished color photographs. The book encompasses most of Winogrand’s themes and subjects and remains broadly faithful to the chronological and geographical facts of his life, but Dyer’s responses to the photographs are(...)
Title:
The street philosophy of Garry Winogrand
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Dyer takes the viewer/reader on a wildly original journey through both iconic and unseen images from the archive, including eighteen previously unpublished color photographs. The book encompasses most of Winogrand’s themes and subjects and remains broadly faithful to the chronological and geographical facts of his life, but Dyer’s responses to the photographs are unorthodox, eye-opening, and often hilarious. This inimitable combination of photographer and writer, images and text, itself offers what Dyer claims for Winogrand’s photography—an education in seeing.
The street philosophy of Garry Winogrand
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$90.00
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Dyer takes the viewer/reader on a wildly original journey through both iconic and unseen images from the archive, including eighteen previously unpublished color photographs. The book encompasses most of Winogrand’s themes and subjects and remains broadly faithful to the chronological and geographical facts of his life, but Dyer’s responses to the photographs are unorthodox, eye-opening, and often hilarious. This inimitable combination of photographer and writer, images and text, itself offers what Dyer claims for Winogrand’s photography—an education in seeing.
Form:
books
books
Publication:
March 2018
March 2018
Subject:
Theory of Photography
Theory of Photography
