The Polaroid book
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In existence for over 50 years, the Polaroid Corporation's photography collection is the greatest collection of Polaroid images in the world. Begun by Polaroid founder Edwin Land and photographer Ansel Adams, the collection now includes images by hundreds of photographers throughout the world and contains important pieces by artists such as David Hockney, Helmut Newton,(...)
Theory of Photography
April 2005, Cologne
The Polaroid book
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In existence for over 50 years, the Polaroid Corporation's photography collection is the greatest collection of Polaroid images in the world. Begun by Polaroid founder Edwin Land and photographer Ansel Adams, the collection now includes images by hundreds of photographers throughout the world and contains important pieces by artists such as David Hockney, Helmut Newton, Jeanloup Sieff, and Robert Rauschenberg. "The Polaroid Book", a survey of this remarkable collection, pays tribute to a medium that defies the digital age and remains a favourite among artists for its quirky look and instantly gratifying, one-of-kind images. The book includes over 400 works from the Polaroid Collections, an essay by Barbara Hitchcock illuminating the beginnings and history of the collection, and a technical reference section featuring the various types of Polaroid cameras.
Theory of Photography
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Architect and propagandist of the modern movement, Alberto Sartoris (1901-1998) assembled a remarkable photography collection of modern architecture, published in part in two anthologies that have since achieved mythical stature: «Gli elementi dell'architettura funzionale» and «l'Encyclopédie de l'architecture nouvelle». These photographs document the architectural works(...)
May 2005, Lausanne
Photography, modern architecture and design : the Alberto Sartoris collection | objects from the Vitra design museum
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Architect and propagandist of the modern movement, Alberto Sartoris (1901-1998) assembled a remarkable photography collection of modern architecture, published in part in two anthologies that have since achieved mythical stature: «Gli elementi dell'architettura funzionale» and «l'Encyclopédie de l'architecture nouvelle». These photographs document the architectural works around the world, from Le Corbusier to Luis Barragàn, photographed by the best specialists of their period. This work presents the collection that Alberto Sartoris donated to the Ecole polytechnique fédérale de Lausanne. It also throws light on a poorly understood aspect of twentieth century architecture, namely, the mechanisms behind the creation and diffusion of the «image of modern architecture», as well as the determining role played by photography in this process.
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From Matthew Brady to Cindy Sherman, 150 artists are represented in this new, combined volume of "Photography Speaks", spanning the entire history of the medium. This compendium contains biographical information and an original statement from each artist, accompanied by an example of their work. A favourite with photographers and requisite course material for many(...)
Photography speaks : 150 photographers on their art
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From Matthew Brady to Cindy Sherman, 150 artists are represented in this new, combined volume of "Photography Speaks", spanning the entire history of the medium. This compendium contains biographical information and an original statement from each artist, accompanied by an example of their work. A favourite with photographers and requisite course material for many students, the discourse on art and artistry contained in this volume is of unprecedented scale - collecting the writing of such diverse photographers as William Henry Fox Talbot, Eugène Atget, Alfred Stieglitz, Lewis Hine, August Sander, Man Ray, Weegee, Robert Frank, Diane Arbus, Robert Heinecken, and Lucas Samaras. New additions include selections from Nadar, William Eggleston, Eikoh Hosoe, Gordon Parks, Manuel Alvarez Bravo, Christian Boltanski, Thomas Struth, and Rineke Dijkstra. The contributors expound upon topics such as their method and intentions, the state of the arts, or the medium itself. "Photography Speaks" has been and will continue to be a vital reference source, an enduring testament to the art of photography, and an engrossing text for artists and enthusiasts alike.
Theory of Photography
Dopostoria
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Who owns the past? Are museum archives and their re-collections of cultural heritage a cult of the dead-and if so, are we living in a necropolis? This book on photography, cemeteries, and the archive evolved out of an experimental research project at the Bibliotheca Hertzianain Rome, with its immense collection of canonic photographs from the history of art and(...)
March 2023
Dopostoria
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Who owns the past? Are museum archives and their re-collections of cultural heritage a cult of the dead-and if so, are we living in a necropolis? This book on photography, cemeteries, and the archive evolved out of an experimental research project at the Bibliotheca Hertzianain Rome, with its immense collection of canonic photographs from the history of art and architecture. An artist's book, it takes on the form of a description of an unfinished film in five acts-a cinematic fragment, so to speak: ''DOPOSTORIA.'' The title essay by Christoph Keller is complemented by two contributions on burial cultures in prehistory and in modernity from the archaeologist Maria Clara Martinelli and the modern historian Carolin Kosuch. A sequence of collages at the back of the book conjures up a phantasmagorical journey through an ancient-modern Rome.
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This book deals with objects of migration on the central Mediterranean route. Traces of this phenomenon include objects left more or less voluntarily by migrant people along their journey, particularly upon arrival on the shores of Lampedusa and Sicily. Since 2013, hundreds of these objects have been retrieved by Massimo Ricciardo with his colleague Thomas Kilpper, and(...)
Encounters in an archive: Objects of migration / photo-objects of art history
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This book deals with objects of migration on the central Mediterranean route. Traces of this phenomenon include objects left more or less voluntarily by migrant people along their journey, particularly upon arrival on the shores of Lampedusa and Sicily. Since 2013, hundreds of these objects have been retrieved by Massimo Ricciardo with his colleague Thomas Kilpper, and are now part of the “Objects of Escape – Inventories of Migration’’ archive. These objects are functional to the journey, such as biscuit tins and water bottles, passports and nautical charts, but they also relate to identity and memory, such as family photographs, diaries, or a handful of earth from their homeland. In the installation “Objects of Migration, Photo-Objects of Art History: Encounters in an Archive,” Ricciardo creates a dialogue between selected objects from this archive and structures from the KHI Photothek on the other. The installation, which led to this book, raises a series of highly relevant questions about these ‘talking’ objects: who do they belong to? Are they part of the cultural heritage? What would be the appropriate artistic and curatorial approach if one decided to collect, archive, exhibit, transform them?
Theory of Photography
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''Citizens of photography'' explores how photography offers access to forms of citizenship beyond those available through ordinary politics. Through contemporary ethnographic investigations of photographic practice in Nicaragua, Nigeria, Greece, India, Nepal, Sri Lanka, Bangladesh, and Cambodia, the PhotoDemos Collective traces the resonances between political(...)
Theory of Photography
September 2023
Citizens of photography: The camera and the political imagination
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''Citizens of photography'' explores how photography offers access to forms of citizenship beyond those available through ordinary politics. Through contemporary ethnographic investigations of photographic practice in Nicaragua, Nigeria, Greece, India, Nepal, Sri Lanka, Bangladesh, and Cambodia, the PhotoDemos Collective traces the resonances between political representation and photographic representation. The authors emphasize photography as lived practice and how photography’s performative, transformative, and transgressive possibilities facilitate the articulation of new identities. They analyze photography ranging from family albums and social media to state and public archives, showing how it points to new destinations in the context of social movements, the aftermath of atrocity and civil war, and the legacies of past injustices. By foregrounding photography’s open-ended and contingent nature and its ability to subvert and reconfigure conventional political identifications, this volume demonstrates that as much as photography looks to the past, it points to the future, acting in advance of social reality.
Theory of Photography
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In "Faking Death", Penny Cousineau-Levine presents Canadian art photography since 1952 as a coherent body of work and articulates a provocative framework for its interpretation. Contrasting Canadian photography with American and European traditions, she shows that Canadian photographers are often preoccupied with a place that is "elsewhere," a doubling and a duality that(...)
Theory of Photography
January 1900, Montreal and Kingston
Faking death : Canadian art photography and the Canadian imagination
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In "Faking Death", Penny Cousineau-Levine presents Canadian art photography since 1952 as a coherent body of work and articulates a provocative framework for its interpretation. Contrasting Canadian photography with American and European traditions, she shows that Canadian photographers are often preoccupied with a place that is "elsewhere," a doubling and a duality that also occur in Canadian literature, film, and political life. Exploring the ambivalent preoccupations Canadian photographers have with death and dying, bondage and entrapment, she argues that the forms of death depicted in the works are 'faked' and express a collective Canadian wish for a symbolic passage to national maturity. Penny Cousineau-Levine discusses the works of over 120 artists. The book includes 16 colour reproductions and 150 duotones of photographs by artists such as Raymonde April, Geneviève Cadieux, Lynne Cohen, Donigan Cumming, Evergon, Janieta Eyre, Charles Gagnon, Thaddeus Holownia, Geoffrey James, Michel Lambeth, Ken Lum, Shelley Niro, Gabor Szilasi, Diana Thorneycroft, Jeff Wall, Ian Wallace, and Jin-me Yoon.
Theory of Photography
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"Les photographies de Julian Rosefeldt et Piero Steinle illustrent la fin de l'espace réel au profit de l'instantanéité du temps réel. Temps réel de la prise de vue, qui précède celui de l'espace virtuel du monde de demain". Paul Virilio
Theory of Photography
November 1997, Paris
Paris : Les cathédrales inconnues, espaces vides dans l'ombre de la ville
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"Les photographies de Julian Rosefeldt et Piero Steinle illustrent la fin de l'espace réel au profit de l'instantanéité du temps réel. Temps réel de la prise de vue, qui précède celui de l'espace virtuel du monde de demain". Paul Virilio
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November 1997, Paris
Theory of Photography
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In this book an international group of specialist historians, critics and photographers revise the dominant models on which our knowledge of the history of photography has been based and set out a number of possible alternatives.
Photography : crisis of history
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In this book an international group of specialist historians, critics and photographers revise the dominant models on which our knowledge of the history of photography has been based and set out a number of possible alternatives.
Theory of Photography
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This book is a selection of virtually unkown and brilliant photographs of India made between 1857 and 1911. Many have never been seen outside of the archives from which they were gathered. The images refelct the British curiosity about every aspect of Indian life and the subtle way in which the imperial presence coloured the customs and manners of an exotic, foreign land.
The Last Empire : photography in British India, 1855-1911
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This book is a selection of virtually unkown and brilliant photographs of India made between 1857 and 1911. Many have never been seen outside of the archives from which they were gathered. The images refelct the British curiosity about every aspect of Indian life and the subtle way in which the imperial presence coloured the customs and manners of an exotic, foreign land.
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June 2001, New York
Theory of Photography