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Titre:
Anastasia Samoylova: Image cities

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Résumé:
In the latest series from Anastasia Samoylova, the Russian-born, Miami-based photographer studies the proliferation of photographic images in urban environments across the world. Samoylova observes how, in our neoliberal era of networked economic markets and networked imagery, the global centers of internationalized money and culture are becoming increasingly aligned and similar: "all these cities are moving towards a generic urban landscape of anonymous steel and glass architecture in which homes, offices and storefronts all appear and feel the same. This is a new global order in which old ideas of nationality are at odds with the 21st-century notion of borderless economics and transnational culture. And yet, those older ideas are now deployed as attractive marketing devices, giving the illusion that these cities are somehow still appealing in their uniqueness rooted in the past." Samoylova’s work also points to the role photography plays in creating this ideological gap between branded urban identity and lived reality.

Titre:
John Divola : three acts

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Résumé:
In 1973, artist John Divola began the first of three highly ambitious and original bodies of work that together form this publication. The Vandalism series comprises black-and-white photographs of interiors of abandoned houses. Entering illegally, Divola spray painted expressive markings in the forms of dots, lines, and grids, creating a series of conceptual gestures that referenced “action painting” as readily as the graffiti that was fast becoming a cultural phenomenon. The following year, Divola began the Los Angeles International Airport Noise Abatement series, photographing a condemned neighborhood bought out by the airport to serve as a noise buffer for new runways.An extensive catalog of break-ins, the photographs record the evidence of violent entries: shattered windows, doors torn from hinges, a crowbar resting in the jamb of a door pried open. The final installment in this book, the Zuma series, is the artist’s documentation of the destruction of an abandoned beachfront property. While employing similar strategies of painting and intervention, the Zuma images add variation and complexity to Divola’s established themes as they incorporate color, elements of nature, and meditation on change. These cyclical images skillfully juxtapose romantic skies and sunsets with a seaside structure that, frame by frame, deteriorates into ruin as it is vandalized by the artist and others who eventually set it on fire. Divola’s art practice shares a tradition with conceptual artists such as Bruce Nauman, whose photographs are considered to be performance or sculpture, and Robert Smithson, who used photography to investigate the built environment.

Titre:
Eugène Atget photographe de Paris

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Résumé:
Atget: Photographe de Paris is the perfect starting point for this invaluable new series on great photography books. Published in 1930, three years after Atget's death, it is now regarded as a classic that has influenced many generations of artists, including Berenice Abbott and Walker Evans. Books on Books 1 reproduces all 96 collotype plates from the original, as well as a translation of the original Pierre Mac Orlan text on Eugene Atget's remarkable documentation of Paris at the turn of the nineteenth century. Noted author and lecturer David Campany contributes a contemporary essay called "Atget's Intelligent Documents" written for this volume.

Titre:
Art and photography

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$115.00
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"Art and Photography" is the first book of its kind to survey the major presence of photography in artistic practice from the 1960s onwards. Today photography is art's pre-eminent medium, yet it took the whole of the last century for it to acquire this status. On its invention, the photograph was considered a purely mechanical, artless object which could not be considered among the fine arts. Despite its increasing use by the century's most significant artists, only since the late 1960s have art museums gradually begun to exhibit and acquire the photograph as an artwork. This volume provides an authoritative overview of photography's place in recent art history, contextualised in the Documents section by original artists statements and interviews, and texts by leading critics, writers and theorists of the late twentieth century.

Titre:
Jeff Wall: picture for women

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Résumé:
Jeff Wall's Picture for Women (1979) marks the transition of photography as an art form from the printed page to the gallery wall. Before this, photographs--from the orthodox photographic work of Walker Evans to the Conceptual photography of Dan Graham--seemed intended for the page even when hung in a gallery. In Picture for Women, a woman looks outward, as if at the viewer; a camera occupies the center of the photograph; the photographer stands on the right. Modeled on Manet's famous painting Un bar aux Folies-Bergere, in which a barmaid seems to look directly out of the painting, observed by a man on the right, Picture for Women establishes its own art historical genealogy, claiming its rightful position within the canon. Wall's photograph is an ambitious attempt to relate the artistic and spectatorial demands of the late 1970s to a modernist pictorial art that had been too hastily rejected by Conceptualism. In this illustrated study, David Campany offers an account of Wall's move from a Conceptual approach to a reengagement with the idea of a singular (as opposed to serial) picture. He shows that Wall's decision to present his work as a large-scale back-lit transparency, together with his commitment to a singular image, amounted to a radical departure. He contrasts Wall's idea of the photograph as a tableau or "picture," inherited from the history of painting, with the works of the "Pictures Generation" - including Richard Prince, Cindy Sherman, and Jack Goldstein - and argues that Picture for Women is inseparable from the modern fate of the picture in general.

Titre:
The open road : photography and the American road trip

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$65.00
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After World War II, the American road trip began appearing prominently in literature, music, movies and photography. As Stephen Shore has written, “Our country is made for long trips. Since the 1940s, the dream of the road trip, and the sense of possibility and freedom that it represents, has taken its own important place within our culture.” Many photographers purposefully embarked on journeys across the U.S. in order to create work. Hundreds of them have continued the tradition of the photographic road trip on down to the present, from Stephen Shore to Taiyo Onorato, Nico Krebs, Alec Soth and Ryan McGinley. The Open Road considers the photographic road trip as a genre in and of itself, and presents the story of photographers for whom the American road is muse. The book features David Campany’s introduction to the genre and 18 chapters presented chronologically, each exploring one American road trip in depth through a portfolio of images and informative texts.

Titre:
Projective: essays about the work of Victor Burgin

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Résumé:
The work of British conceptual artist and writer Victor Burgin revolves around the relationship between image and text, one in which neither optical nor verbal predominates, and explores the territory between still and moving images. Four essays are included in this volume, written by D.N. Rodowick, Gülru Çakmak, Homay King and Anthony Vidler, each analysing various aspects of Burgin's attention to the affective agency of space in his work, from orientalism and the cultural politics of modernity, to viewing Burgin's work through the lens of Henri Bergson and Gilles Deleuze.

Titre:
David Campany: a handful of dust, from the cosmic to the domestic

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Résumé:
A Handful of Dust is David Campany’s speculative history of the last century, and a visual journey through some of its unlikeliest imagery. Let’s suppose the modern era begins in October of 1922. A little French avant-garde journal publishes a photograph of a sheet of glass covered in dust. The photographer is Man Ray, the glass is by Marcel Duchamp. At first they called it a view from an aeroplane. Then they called it Dust Breeding. It’s abstract, it’s realist. It’s an artwork, it’s a document. It’s revolting and compelling. Cameras must be kept away from dust but they find it highly photogenic. At the same time, a little English journal publishes TS Eliot’s poem The Waste Land. “I will show you fear in a handful of dust.”

Titre:
David Campany: gasoline

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$41.00
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Résumé:
Gasoline presents 35 archive press images of gas stations taken between 1944 and 1995. They have been collected by writer David Campany, purchased from the photography archives of several American newspapers which have been discarding their analogue print collections and moving to the now ubiquitous .jpeg or .tif formats.

Titre:
Ernst Haas: Abstract

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$79.00
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Résumé:
Three decades after its completion, Haas’ most personal and least-known project is now available for the first time in this exquisitely produced book. Presented in a clean and spare design, this volume features reproductions of superb quality that allow readers to appreciate his mastery of color, light, and composition, and his ability to capture the mystery of daily life. For this collection Haas drew on images made in all phases of his career from 1952 to 1984, and, despite the title, most of these photographs are not abstract but rather clear, focused, well-exposed images of recognizable surfaces from the observable world around him: crumbling paint, graphic road markings, fabric, liquids, detritus, decay, and torn posters. David Campany’s eloquent introductory essay lays the groundwork for a deep appreciation of the slideshow which, in book form, can be savored and understood in an entirely new way.