2313 Résultats
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"Temporary discomfort" documents Davos, Genoa, New York and Evian/Geneva in a transitory state of emergency lock-down during the global economic summits (2001–2003). It combines different photographical genres: landscape photography, photojournalism and police photography, though here with the camera lens turned back at the security forces. But instead of street fighting(...)
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"Temporary discomfort" documents Davos, Genoa, New York and Evian/Geneva in a transitory state of emergency lock-down during the global economic summits (2001–2003). It combines different photographical genres: landscape photography, photojournalism and police photography, though here with the camera lens turned back at the security forces. But instead of street fighting(...)
Titre:
Temporary discomfort chapter I-V
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"Temporary discomfort" documents Davos, Genoa, New York and Evian/Geneva in a transitory state of emergency lock-down during the global economic summits (2001–2003). It combines different photographical genres: landscape photography, photojournalism and police photography, though here with the camera lens turned back at the security forces. But instead of street fighting and handshakes, Jules Spinatsch shows winter nights in Davos, complete with floodlighted barbedwire labyrinths. He shows Genova, a fortress empty as the Mediterranean noonday sky. We see freight containers, symbols for world trade, that are used as barricades against its foes. He invites us to scrutinize the streets in New York at night: road blocks, tents, and mobile transmission units: that seem surreally empty. He photographs the sleepy waking of the security guards. Spinatsch examines the waiting for the big event that appears as meticulously planned, down to the last detail.
Temporary discomfort chapter I-V
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"Temporary discomfort" documents Davos, Genoa, New York and Evian/Geneva in a transitory state of emergency lock-down during the global economic summits (2001–2003). It combines different photographical genres: landscape photography, photojournalism and police photography, though here with the camera lens turned back at the security forces. But instead of street fighting and handshakes, Jules Spinatsch shows winter nights in Davos, complete with floodlighted barbedwire labyrinths. He shows Genova, a fortress empty as the Mediterranean noonday sky. We see freight containers, symbols for world trade, that are used as barricades against its foes. He invites us to scrutinize the streets in New York at night: road blocks, tents, and mobile transmission units: that seem surreally empty. He photographs the sleepy waking of the security guards. Spinatsch examines the waiting for the big event that appears as meticulously planned, down to the last detail.
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livres
livres
Publication:
octobre 2005, Zürich
octobre 2005, Zürich
Sujet:
Monographies photo
Monographies photo
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livres
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In juxtaposing the ambiguity of the photographic image against the uncertainty of historical and archaeological evidence, photographer John Stathatos has woven an intriguing Borgian labyrinth of truth and fiction in his exploration of ancient and forgotten cities. Includes an essay by Joan Fontcuberta. And a preface by Yves Abrioux.
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In juxtaposing the ambiguity of the photographic image against the uncertainty of historical and archaeological evidence, photographer John Stathatos has woven an intriguing Borgian labyrinth of truth and fiction in his exploration of ancient and forgotten cities. Includes an essay by Joan Fontcuberta. And a preface by Yves Abrioux.
Titre:
John Stathatos ; the book of lost cities
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In juxtaposing the ambiguity of the photographic image against the uncertainty of historical and archaeological evidence, photographer John Stathatos has woven an intriguing Borgian labyrinth of truth and fiction in his exploration of ancient and forgotten cities. Includes an essay by Joan Fontcuberta. And a preface by Yves Abrioux.
John Stathatos ; the book of lost cities
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In juxtaposing the ambiguity of the photographic image against the uncertainty of historical and archaeological evidence, photographer John Stathatos has woven an intriguing Borgian labyrinth of truth and fiction in his exploration of ancient and forgotten cities. Includes an essay by Joan Fontcuberta. And a preface by Yves Abrioux.
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livres
livres
Publication:
janvier 1900, Berlin
janvier 1900, Berlin
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Monographies photo
Monographies photo
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livres
livres
Titre:
Andreas Züst : roundabouts
Andreas Züst : roundabouts
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For years, Andreas Züst, the late photographer, meteorologist, publisher, collector, and patron of the arts, took photographs of roundabouts in Europe, America, and Asia. Almost everything can manifest itself in the center of a roundabout, endowing this non-place with a meaning that we only casually glimpse while driving by: advertisements for local businesses, historical(...)
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For years, Andreas Züst, the late photographer, meteorologist, publisher, collector, and patron of the arts, took photographs of roundabouts in Europe, America, and Asia. Almost everything can manifest itself in the center of a roundabout, endowing this non-place with a meaning that we only casually glimpse while driving by: advertisements for local businesses, historical(...)
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Monographies photo
Monographies photo
Publication:
janvier 1900, Zürich, Berlin, New York
janvier 1900, Zürich, Berlin, New York
Titre:
Andreas Züst : roundabouts
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For years, Andreas Züst, the late photographer, meteorologist, publisher, collector, and patron of the arts, took photographs of roundabouts in Europe, America, and Asia. Almost everything can manifest itself in the center of a roundabout, endowing this non-place with a meaning that we only casually glimpse while driving by: advertisements for local businesses, historical allegories, artworks, craft, monuments of ruling ideologies and religions—as though man could not abide a void. These wry photographs, with their delight in the absurd, are a prime example of an anthropology of everyday and popular culture inviting the reader to reflect on cultural and social differences, vernacular culture, and man’s horror of the void. At time of his premature death, Züst was preparing the publication of this book.
Andreas Züst : roundabouts
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For years, Andreas Züst, the late photographer, meteorologist, publisher, collector, and patron of the arts, took photographs of roundabouts in Europe, America, and Asia. Almost everything can manifest itself in the center of a roundabout, endowing this non-place with a meaning that we only casually glimpse while driving by: advertisements for local businesses, historical allegories, artworks, craft, monuments of ruling ideologies and religions—as though man could not abide a void. These wry photographs, with their delight in the absurd, are a prime example of an anthropology of everyday and popular culture inviting the reader to reflect on cultural and social differences, vernacular culture, and man’s horror of the void. At time of his premature death, Züst was preparing the publication of this book.
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livres
livres
Publication:
janvier 1900, Zürich, Berlin, New York
janvier 1900, Zürich, Berlin, New York
Sujet:
Monographies photo
Monographies photo
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livres
livres
Titre:
Brassaï : intime et inédit
Brassaï : intime et inédit
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Biographie illustrée de nombreux inédits révélant différentes facettes du photographe Brassaï : du jeune Hongrois faisant son apprentissage artistique à Berlin au témoin privilégié de la vie parisienne des années folles ; du compagnon de bamboche de la bohème artistique ou de l'aristocratie mondaine au glaneur d'images portant un regard tendre sur les milieux populaires ;(...)
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Biographie illustrée de nombreux inédits révélant différentes facettes du photographe Brassaï : du jeune Hongrois faisant son apprentissage artistique à Berlin au témoin privilégié de la vie parisienne des années folles ; du compagnon de bamboche de la bohème artistique ou de l'aristocratie mondaine au glaneur d'images portant un regard tendre sur les milieux populaires ;(...)
Titre:
Brassaï : intime et inédit
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Biographie illustrée de nombreux inédits révélant différentes facettes du photographe Brassaï : du jeune Hongrois faisant son apprentissage artistique à Berlin au témoin privilégié de la vie parisienne des années folles ; du compagnon de bamboche de la bohème artistique ou de l'aristocratie mondaine au glaneur d'images portant un regard tendre sur les milieux populaires ; de l'insatiable traqueur de clichés dans les venelles sombres de Paris au reporter globe-trotter mondialement reconnu... Photographe, Brassaï fut aussi peintre, sculpteur, concepteur de décors de théâtre et écrivain.
Brassaï : intime et inédit
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Biographie illustrée de nombreux inédits révélant différentes facettes du photographe Brassaï : du jeune Hongrois faisant son apprentissage artistique à Berlin au témoin privilégié de la vie parisienne des années folles ; du compagnon de bamboche de la bohème artistique ou de l'aristocratie mondaine au glaneur d'images portant un regard tendre sur les milieux populaires ; de l'insatiable traqueur de clichés dans les venelles sombres de Paris au reporter globe-trotter mondialement reconnu... Photographe, Brassaï fut aussi peintre, sculpteur, concepteur de décors de théâtre et écrivain.
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livres
livres
Publication:
janvier 1900, Paris
janvier 1900, Paris
Sujet:
Monographies photo
Monographies photo
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Stéphane Couturier conçoit le tissu urbain tel un «work in progress», un chantier sans cesse modifié en tous sens, inexorablement problèmatique. Par ce biais il prend à rebours une des fonctions essentielles de la photographie qui est de voir le temps figé, le transitoire fixé, l'éphémère capturé en une image stable et sécurisante. (...)En rendant sensibles les relations(...)
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Stéphane Couturier conçoit le tissu urbain tel un «work in progress», un chantier sans cesse modifié en tous sens, inexorablement problèmatique. Par ce biais il prend à rebours une des fonctions essentielles de la photographie qui est de voir le temps figé, le transitoire fixé, l'éphémère capturé en une image stable et sécurisante. (...)En rendant sensibles les relations(...)
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Stéphane Couturier : photographies
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Stéphane Couturier conçoit le tissu urbain tel un «work in progress», un chantier sans cesse modifié en tous sens, inexorablement problèmatique. Par ce biais il prend à rebours une des fonctions essentielles de la photographie qui est de voir le temps figé, le transitoire fixé, l'éphémère capturé en une image stable et sécurisante. (...)En rendant sensibles les relations entre image et pensée, document et oeuvre, Couturier nous rappelle à l'évidence : touteimage du monde, aussi détaillée, riche et précise qu'elle soit, n'est au mieux qu'une restitution sabotée, un ensemble de pièces à conviction détournées.
Stéphane Couturier : photographies
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Stéphane Couturier conçoit le tissu urbain tel un «work in progress», un chantier sans cesse modifié en tous sens, inexorablement problèmatique. Par ce biais il prend à rebours une des fonctions essentielles de la photographie qui est de voir le temps figé, le transitoire fixé, l'éphémère capturé en une image stable et sécurisante. (...)En rendant sensibles les relations entre image et pensée, document et oeuvre, Couturier nous rappelle à l'évidence : touteimage du monde, aussi détaillée, riche et précise qu'elle soit, n'est au mieux qu'une restitution sabotée, un ensemble de pièces à conviction détournées.
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livres
livres
Publication:
octobre 2005, Paris
octobre 2005, Paris
Sujet:
Monographies photo
Monographies photo
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livres
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André Kertész (1894–1985) was one of the most inventive, influential, and prolific photographers in the medium's history. His combination of Modernist vision and poetic wit defined a vocabulary that generations of photographers have continued to use. Kertész's iconic images of 1920s Paris, such as "Chez Mondrian" and "Satiric dancer" and his later images from New(...)
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André Kertész (1894–1985) was one of the most inventive, influential, and prolific photographers in the medium's history. His combination of Modernist vision and poetic wit defined a vocabulary that generations of photographers have continued to use. Kertész's iconic images of 1920s Paris, such as "Chez Mondrian" and "Satiric dancer" and his later images from New(...)
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Monographies photo
Monographies photo
Publication:
octobre 2005, New York
octobre 2005, New York
Titre:
André Kertész : the early years
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André Kertész (1894–1985) was one of the most inventive, influential, and prolific photographers in the medium's history. His combination of Modernist vision and poetic wit defined a vocabulary that generations of photographers have continued to use. Kertész's iconic images of 1920s Paris, such as "Chez Mondrian" and "Satiric dancer" and his later images from New York–"Melancholic tulip," "Washington Square"–have seeped into contemporary culture, and yet Kertész maintained that the real roots of his work were in Hungary. This book, the first completely dedicated to Kertész's early Hungarian prints, offers a unique window on the origins of genius. Ninety images, selected from more than 1,000 contact prints in the artist's estate, are meticulously reproduced to actual size, revealing the explosive cultural context of early twentieth-century Hungary.
André Kertész : the early years
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André Kertész (1894–1985) was one of the most inventive, influential, and prolific photographers in the medium's history. His combination of Modernist vision and poetic wit defined a vocabulary that generations of photographers have continued to use. Kertész's iconic images of 1920s Paris, such as "Chez Mondrian" and "Satiric dancer" and his later images from New York–"Melancholic tulip," "Washington Square"–have seeped into contemporary culture, and yet Kertész maintained that the real roots of his work were in Hungary. This book, the first completely dedicated to Kertész's early Hungarian prints, offers a unique window on the origins of genius. Ninety images, selected from more than 1,000 contact prints in the artist's estate, are meticulously reproduced to actual size, revealing the explosive cultural context of early twentieth-century Hungary.
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livres
livres
Publication:
octobre 2005, New York
octobre 2005, New York
Sujet:
Monographies photo
Monographies photo
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livres
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$42.00
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For five years Linda Herzog photographed her Swiss hometown of Zurich, the once industrial city of Birmingham, England, and the Turkish metropolis of Istanbul. These 52 color images, shown record cultural differences and commonalities, and raise provocative questions about the new Europe.
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For five years Linda Herzog photographed her Swiss hometown of Zurich, the once industrial city of Birmingham, England, and the Turkish metropolis of Istanbul. These 52 color images, shown record cultural differences and commonalities, and raise provocative questions about the new Europe.
Sujet:
Monographies photo
Monographies photo
Publication:
septembre 2005, Köln / Zürich
septembre 2005, Köln / Zürich
Titre:
Linda Herzog : Birmingham, Istanbul, Zürich
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For five years Linda Herzog photographed her Swiss hometown of Zurich, the once industrial city of Birmingham, England, and the Turkish metropolis of Istanbul. These 52 color images, shown record cultural differences and commonalities, and raise provocative questions about the new Europe.
Linda Herzog : Birmingham, Istanbul, Zürich
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For five years Linda Herzog photographed her Swiss hometown of Zurich, the once industrial city of Birmingham, England, and the Turkish metropolis of Istanbul. These 52 color images, shown record cultural differences and commonalities, and raise provocative questions about the new Europe.
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livres
livres
Publication:
septembre 2005, Köln / Zürich
septembre 2005, Köln / Zürich
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Monographies photo
Monographies photo
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livres
livres
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$54.00
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The photographer best known for his extensive, insightful documentation of "the American social landscape"-from jazz musicians to factory hands to New York pedestrians and office workers zoning out at their keyboards-has recently been spending more time looking at the literal, natural landscape. His 2005 MoMA retrospective showed, for the first time, a new series of(...)
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The photographer best known for his extensive, insightful documentation of "the American social landscape"-from jazz musicians to factory hands to New York pedestrians and office workers zoning out at their keyboards-has recently been spending more time looking at the literal, natural landscape. His 2005 MoMA retrospective showed, for the first time, a new series of(...)
Titre:
Lee Friedlander : apples and olives
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The photographer best known for his extensive, insightful documentation of "the American social landscape"-from jazz musicians to factory hands to New York pedestrians and office workers zoning out at their keyboards-has recently been spending more time looking at the literal, natural landscape. His 2005 MoMA retrospective showed, for the first time, a new series of landscapes made in the American west, while for "Olives and apples", he has looked back over the last decade’s work and culled a forest, tree by tree. His docile subjects, apple trees photographed in New York State and olive trees photographed in France, Italy and Spain from 1997-2004, are presented in circumstances ranging from sunny, leafy summer health to glittering winter ice-storm glory. Some of the most striking compositions are shot from just inside the reach of a tree’s furthest twigs, so that expanding branching limbs fill the frame, stretching out around the viewer.
Lee Friedlander : apples and olives
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The photographer best known for his extensive, insightful documentation of "the American social landscape"-from jazz musicians to factory hands to New York pedestrians and office workers zoning out at their keyboards-has recently been spending more time looking at the literal, natural landscape. His 2005 MoMA retrospective showed, for the first time, a new series of landscapes made in the American west, while for "Olives and apples", he has looked back over the last decade’s work and culled a forest, tree by tree. His docile subjects, apple trees photographed in New York State and olive trees photographed in France, Italy and Spain from 1997-2004, are presented in circumstances ranging from sunny, leafy summer health to glittering winter ice-storm glory. Some of the most striking compositions are shot from just inside the reach of a tree’s furthest twigs, so that expanding branching limbs fill the frame, stretching out around the viewer.
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livres
livres
Publication:
septembre 2005, New York
septembre 2005, New York
Sujet:
Monographies photo
Monographies photo
Classification:
livres
livres
Titre:
Joel Meyerowitz
Joel Meyerowitz
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Joel Meyerowitz is most famous for pioneering the use of colour at a time when it was generally held that so-called ‘artistic’ photography could only be done in black and white. He is closely associated with Cape Cod, where he makes many of his still, contemplative images. He is also well known for his architectural photographs of The Arch in St. Louis. Yet he started(...)
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Joel Meyerowitz is most famous for pioneering the use of colour at a time when it was generally held that so-called ‘artistic’ photography could only be done in black and white. He is closely associated with Cape Cod, where he makes many of his still, contemplative images. He is also well known for his architectural photographs of The Arch in St. Louis. Yet he started(...)
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Joel Meyerowitz
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Joel Meyerowitz is most famous for pioneering the use of colour at a time when it was generally held that so-called ‘artistic’ photography could only be done in black and white. He is closely associated with Cape Cod, where he makes many of his still, contemplative images. He is also well known for his architectural photographs of The Arch in St. Louis. Yet he started off in the 1960s as a street photographer, following in the tradition of Robert Frank and Henri Cartier-Bresson. He spent a number of years taking pictures of the eventful life on New York’s streets. His sense of humour really comes through in his images and the absurdities he captures often make you laugh out loud. There are many of Meyerowitz’s own personal anecdotes in the commentaries.
Joel Meyerowitz
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Joel Meyerowitz is most famous for pioneering the use of colour at a time when it was generally held that so-called ‘artistic’ photography could only be done in black and white. He is closely associated with Cape Cod, where he makes many of his still, contemplative images. He is also well known for his architectural photographs of The Arch in St. Louis. Yet he started off in the 1960s as a street photographer, following in the tradition of Robert Frank and Henri Cartier-Bresson. He spent a number of years taking pictures of the eventful life on New York’s streets. His sense of humour really comes through in his images and the absurdities he captures often make you laugh out loud. There are many of Meyerowitz’s own personal anecdotes in the commentaries.
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livres
livres
Publication:
janvier 1900, London / New York
janvier 1900, London / New York
Sujet:
Monographies photo
Monographies photo
Classification:
livres
livres
Titre:
Abelardo Morell
Abelardo Morell
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Born in Havana, Abelardo Morell emigrated to the United States in 1962, where he took his first photography course after winning a scholarship to Bowdoin College - a small liberal arts college in Maine. There, Morell experimented with a variety of photographic techniques to create surreal effects that reflected his feelings of alienation as a Cuban living abroad. He(...)
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Born in Havana, Abelardo Morell emigrated to the United States in 1962, where he took his first photography course after winning a scholarship to Bowdoin College - a small liberal arts college in Maine. There, Morell experimented with a variety of photographic techniques to create surreal effects that reflected his feelings of alienation as a Cuban living abroad. He(...)
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Abelardo Morell
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Born in Havana, Abelardo Morell emigrated to the United States in 1962, where he took his first photography course after winning a scholarship to Bowdoin College - a small liberal arts college in Maine. There, Morell experimented with a variety of photographic techniques to create surreal effects that reflected his feelings of alienation as a Cuban living abroad. He proceeded to complete the graduate programme at Yale University, where he worked within the framework of Robert Frank and Garry Winogrand’s tradition of black-and-white street photography. In 1983, he began teaching at the Massachusetts College of Art in Boston, where he remains a professor. In 1986, Morell began a family and his fascination with his son engaged a new interest in this domestic environment as a subject. Morell began exploring the world from a child’s perspective – approaching mundane household objects in a new way that challenges the viewer’s perception of reality and how we see it. Morell transforms everyday objects by distorting angles and using extreme close-ups, and by exploiting perspectives that confuse and jar with our expectations. For instance, viewed from below a stack of toys blocks tower over the viewer; and a close-up of liquid pouring from a jar seems ominous and dramatic rather than an everyday occurrence. Similarly, Morell continued to transform the familiar into the surprising in his series of photographs of books, maps, American money and, more recently, a series that illustrates a new edition of Lewis Carroll’s Alice’s Adventures in Wonderland. This preoccupation with reality and illusion is most clearly realised in Morell’s series of camera obscura images. He takes an ordinary room and tapes black plastic over the windows, leaving only a 3/8" hole for the light. After setting up a large-format camera in the room and pointing it at the opposite wall, Morell leaves - a single exposure takes 8 hours. In the resulting images a scene of Brooklyn floats upside-down along the walls of his son’s bedroom; global landmarks like the Uffizi and the Eiffel Tower are projected across hotel rooms. In this, Morell’s best known and most ambitious series, the distinction between the outside and the domestic world is merged and his preoccupation with the mechanics of human vision and the principles of photography is illuminated.
Abelardo Morell
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Born in Havana, Abelardo Morell emigrated to the United States in 1962, where he took his first photography course after winning a scholarship to Bowdoin College - a small liberal arts college in Maine. There, Morell experimented with a variety of photographic techniques to create surreal effects that reflected his feelings of alienation as a Cuban living abroad. He proceeded to complete the graduate programme at Yale University, where he worked within the framework of Robert Frank and Garry Winogrand’s tradition of black-and-white street photography. In 1983, he began teaching at the Massachusetts College of Art in Boston, where he remains a professor. In 1986, Morell began a family and his fascination with his son engaged a new interest in this domestic environment as a subject. Morell began exploring the world from a child’s perspective – approaching mundane household objects in a new way that challenges the viewer’s perception of reality and how we see it. Morell transforms everyday objects by distorting angles and using extreme close-ups, and by exploiting perspectives that confuse and jar with our expectations. For instance, viewed from below a stack of toys blocks tower over the viewer; and a close-up of liquid pouring from a jar seems ominous and dramatic rather than an everyday occurrence. Similarly, Morell continued to transform the familiar into the surprising in his series of photographs of books, maps, American money and, more recently, a series that illustrates a new edition of Lewis Carroll’s Alice’s Adventures in Wonderland. This preoccupation with reality and illusion is most clearly realised in Morell’s series of camera obscura images. He takes an ordinary room and tapes black plastic over the windows, leaving only a 3/8" hole for the light. After setting up a large-format camera in the room and pointing it at the opposite wall, Morell leaves - a single exposure takes 8 hours. In the resulting images a scene of Brooklyn floats upside-down along the walls of his son’s bedroom; global landmarks like the Uffizi and the Eiffel Tower are projected across hotel rooms. In this, Morell’s best known and most ambitious series, the distinction between the outside and the domestic world is merged and his preoccupation with the mechanics of human vision and the principles of photography is illuminated.
Classification:
livres
livres
Publication:
septembre 2005, London, New York
septembre 2005, London, New York
Sujet:
Monographies photo
Monographies photo
