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Titre:
Scene: Alex Majoli

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Résumé:
For eight years and across several continents, Alex Majoli has been photographing events and non-events. Political demonstrations, humanitarian emergencies, and quiet moments of everyday life. What holds all these images together is a sense of theatre. A sense that we are all actors, all playing the parts that history and circumstance demand of us. Majoli's photographs result from his own performance. Entering a situation, he and his assistants slowly go about setting up a camera and lights. This activity is a kind of spectacle in itself, observed by those who will eventually be photographed. Majoli begins to shoot, offering no direction to the people before his camera. We never really see people or places: we see the light they reflect. And the quality of that light affects how we understand them.

Titre:
Scène : Alex Majoli

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Résumé:
Huit ans durant, Alex Majoli a parcouru le globe pour photographier des événements et des non-événements. Des manifestations politiques, des urgences humanitaires ou des moments paisibles de la vie quotidienne. Bien qu'hétéroclites, ces images semblent avoir en commun - du moins au premier regard - le même type de lumière ainsi qu'un certain sens de la théâtralité. Le sentiment que nous sommes tous acteurs aux prises avec les différents rôles que l'histoire et les circonstances exigent de nous.

Titre:
Silver and glass: Cornelia Parker and photography

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Résumé:
''Silver and Glass'' is the first publication to explore the application and influence of photography in the art of the popular British artist Cornelia Parker (born 1956). The book is illustrated by works from across Parker's career, including those which arose from her investigations into the photogravure. Inspired by the 19th-century photographic pioneer William Henry Fox Talbot, Parker combined two of his early techniques- solar prints and the photogravure- to create a new hybrid form of print by exposing translucent three-dimensional objects to ultraviolet light.

Titre:
Todd Hido: intimate distance. Twenty-five years of photographs. A chronological album

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$86.95
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Résumé:
'Intimate Distance' is the first comprehensive monograph charting the career of American photographer Todd Hido. Though he has published many smaller monographs of individual bodies of work, this gathers his most iconic images for the first time and brings a fresh perspective to his oeuvre with the inclusion of many unpublished photographs.

Titre:
Lewis Baltz: common objects

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$60.00
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Résumé:
'Common Objects' revisits Lewis Baltz's most remarkable series from The Prototype Works (1967-1976) to Ronde de Nuit (1992-1995), and interrogates for the first time the influence of European cinema (Antonioni, Godard, Hitchcock) on his work. Baltz's seminal series The Prototype Works, The Tract Houses (1969-1971), Candlestick Point (1987-1989), Sites of Technology (1989-1991) and Ronde de Nuit are presented in dialogue with stills from several films: Alfred Hitchcock's Saboteur and Psycho, Michelangelo Antonioni's Zabriskie Point, La Notte and Red Desert and Jean-Luc Godard's Les Carabiniers.

Titre:
Andreas Gefeller: blank

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$90.00
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Résumé:
In his most recent photo project, ''Blank'', German photographer Andreas Gefeller (born 1970) presents seductively radiant satellite images of urban areas by night. The images combine technoid strips of light and light grids to become crystalline diagrams of human existence.

Titre:
Victor Burgin's photopath

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$25.00
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Résumé:
''A path along the floor, of proportions 1×21 units, photographed. Photographs printed actual size of objects and prints attached to the floor so that images are perfectly congruent with their objects.'' With these words of instruction, typed on a humble card in 1967, Victor Burgin conceived one of the most profound and remarkable works of photographic art. Each time it was exhibited, it had to be made anew, unique to its setting. Embracing Minimalism and Conceptual art, performance and site-specific installation, there is no other artwork like Photopath. In his characteristically analytical and associative manner, writer and curator David Campany takes the reader through the history and implications of Photopath, and their place in the breadth of Victor Burgin’s art and theoretical writings.

Titre:
Pablo López Luz: Baja Moda

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$68.00
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Résumé:
The project "Baja Moda (Low Fashion)" explores two key aspects of contemporary Latin American culture: identity and resistance. While working on a previous project across Latin America, I began documenting store fronts and shoe shops still standing unaltered through the passage of time, unconcerned with the tendencies of modern globalized culture, seemingly opposing the economic transition to overseas manufacturing.

Titre:
John Divola: Scapes

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$70.00
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Résumé:
Cameras and their users are caught between the universal and the particular. Photography and photographs; humanity and whatever specific kind of human we happen to be. There is at least something existentially universal about Divola’s photographic adventures. The lone observer moving through the world and reflecting upon it through various camera possibilities. But nobody is truly universal, or only universal. We each come wrapped in our particulars, just as each and every photograph belongs to the universe of photography precisely insofar as it is particular. Forever the two.

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.