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Claude Nori, ami de Ghirri depuis 1973 jusqu’à sa disparition en 1992, a publié tous ses livres en France. Il dresse ici un portrait vivant, intime, libre et très émouvant de ce grand photographe à travers leurs voyages, leurs virées sur les petites routes de la plaine du Pô, leurs échanges sur la technique et les tirages, leurs discussions sur le cinéma néoréaliste, les(...)
Luigi Ghirri, l'amico infinito
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Claude Nori, ami de Ghirri depuis 1973 jusqu’à sa disparition en 1992, a publié tous ses livres en France. Il dresse ici un portrait vivant, intime, libre et très émouvant de ce grand photographe à travers leurs voyages, leurs virées sur les petites routes de la plaine du Pô, leurs échanges sur la technique et les tirages, leurs discussions sur le cinéma néoréaliste, les grands courants et les ouvrages qui marquèrent la photographie. Composé en chapitres qui sont autant de petites anecdotes de moments partagés, le livre restitue l’ambiance de ces années de rupture et de renouveau permettant de comprendre la pensée et l’œuvre de Ghirri. Ce portrait à l’opposé de tous les poncifs théoriques révèle un Luigi Ghirri, drôle, émouvant qui semblait avoir trouvé «?un équilibre extraordinaire entre le mal-être de l’existence et le bien-être du regard?».
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Sagacity
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Nearly 50 years after its inception, Italian photographer Fulvio Ventura’s "Sagacity" is finally seeing the light of day. Begun in 1975 and originally scheduled for publication in 1978 by Luigi Ghirri’s short-lived Punto e Virgola imprint, Ventura continued to amass his photographic archive organically for the next four decades as an open-ended project called "Sagacity,(...)
Sagacity
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Nearly 50 years after its inception, Italian photographer Fulvio Ventura’s "Sagacity" is finally seeing the light of day. Begun in 1975 and originally scheduled for publication in 1978 by Luigi Ghirri’s short-lived Punto e Virgola imprint, Ventura continued to amass his photographic archive organically for the next four decades as an open-ended project called "Sagacity, Sunstar and Salamandra" (a title copied from a portentous inscription discovered by chance on a brass plate in the window of a typesetter). This was Ventura’s living body of work, inspired by an evolving passion for esoteric philosophies, the mysteries of happenstance, the sound of jazz, and the literature of surrealism and mythology. The images in this volume, gathered over many years in various locations around Europe, are spontaneous yet full of intention, cryptic but playful, and often strikingly cinematic – an altogether cohesive and self-contained psychic world, bound by visible and invisible energies.
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Richard Gaunt was born in Lancashire but grew up in Darlington, attending QEGS Darlington, then Corpus Christi College Cambridge. His career has included posts in the chemicals, steel, construction, local government and consultancy industries – most recently as a director of a policy research consultancy. He started taking an interest in railways at an early age, and is(...)
Richard Gaunt: Darlington - Durham 1965-1975
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Richard Gaunt was born in Lancashire but grew up in Darlington, attending QEGS Darlington, then Corpus Christi College Cambridge. His career has included posts in the chemicals, steel, construction, local government and consultancy industries – most recently as a director of a policy research consultancy. He started taking an interest in railways at an early age, and is an accomplished photographer with work appearing in "The Guardian," "Steam Railway" and elsewhere.
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Ari Marcopoulos: Zines
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Ari Marcopoulos is an inveterate maker of zines. This project collects in one volume for the first time a selection of zines by Marcopoulos, many never before released, providing a unique insight and overview into an essential part of this influential artist’s daily practice. Often self-published or created in collaboration with boutique and independent publishers like(...)
Ari Marcopoulos: Zines
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Ari Marcopoulos is an inveterate maker of zines. This project collects in one volume for the first time a selection of zines by Marcopoulos, many never before released, providing a unique insight and overview into an essential part of this influential artist’s daily practice. Often self-published or created in collaboration with boutique and independent publishers like ROMA, Dashwood Books, and PPP Editions, these informal, DIY-aesthetic creations function as sketchbook, diary, installation space, and a means of processing Marcopoulos’s daily practice of photographing his life, his family, his neighborhood, and the rarified cultural milieu in which he operates.
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William Klein: Yes
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A la fois photographe, cinéaste, graphiste et peintre, William Klein est l'un des artistes les plus importants et productifs de ces soixante-quinze dernières années. Alors qu'il faudrait toute une vie pour maîtriser chacune de ces techniques, Klein a produit une oeuvre transversale dans laquelle chaque médium fait écho à un autre. Considéré comme l'un des grands créateurs(...)
William Klein: Yes
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A la fois photographe, cinéaste, graphiste et peintre, William Klein est l'un des artistes les plus importants et productifs de ces soixante-quinze dernières années. Alors qu'il faudrait toute une vie pour maîtriser chacune de ces techniques, Klein a produit une oeuvre transversale dans laquelle chaque médium fait écho à un autre. Considéré comme l'un des grands créateurs d'images du xxe siècle, il a développé une oeuvre protéiforme, qui a profondément influencé de nombreux artistes, tant photographes que cinéastes. « William Klein : Yes », publié à l'occasion de sa grande exposition rétrospective à l'International Center of Photography (ICP), à New York, retrace la carrière de l'artiste dans un livre référence : près de 400 pages et environ 250 images permettent de découvrir ou de redécouvrir le travail photographique et cinématographique, mais également l'oeuvre picturale, à la base de sa pratique. À ce titre, la publication s'ouvre sur ses premières peintures, avant de dérouler, de manière chronologique, ses différentes séries : des plus célèbres comme les photos de rue de New York ou Tokyo, en passant, entre autres, par Paris, Rome, ou Moscou, jusqu'à ses oeuvres plus récentes et ses films. « William Klein : Yes » est complété d'un long essai de David Campany, directeur de l'ICP et commissaire d'exposition de renommée internationale. Campany évoque le parcours de Klein, comment il est devenu l'artiste qu'il est aujourd'hui. Cette introduction est illustrée de documents qui viennent éclairer la relecture de l'oeuvre. A l'instar de toutes ses publications, cet ouvrage, à la mise en pages très graphique, a été conçu en étroite collaboration avec Klein.
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Samy Rio : Autochtonie
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Une collection de photographies constituant une analyse topographique des forêts cévenoles dans le cadre d'un projet de recherche sur leur revitalisation. Depuis 2021, Samy Rio se consacre à un travail de revalorisation du patrimoine matériel et immatériel des Cévennes, dans le cadre de l'appel à manifestation d'intêret Mondes Nouveaux du ministère de la Culture. Ce(...)
Samy Rio : Autochtonie
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Une collection de photographies constituant une analyse topographique des forêts cévenoles dans le cadre d'un projet de recherche sur leur revitalisation. Depuis 2021, Samy Rio se consacre à un travail de revalorisation du patrimoine matériel et immatériel des Cévennes, dans le cadre de l'appel à manifestation d'intêret Mondes Nouveaux du ministère de la Culture. Ce livre présente son étude topographique et photographique des forêts de la région, étape préalable à ses recherches sur la filière bois locale et les possibilités d'une économie circulaire. Avec les textes de Jeannine Bourelly, forestière, et Emmanuelle Oddo, éditrice.
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Unknown lady in the radiation protection department, puddle, dancing couple in costume, damage to a waste drum, retiree send-off, lead shielding, burnt-out glovebox, scorpion with microchip—these are all captions to photographs of Germany’s first major nuclear research facility. In 1957, professional photographers began to make an on-site record of procedures at the(...)
10% : Das bildarchiv eines kernforschungszentrums betreffend
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Unknown lady in the radiation protection department, puddle, dancing couple in costume, damage to a waste drum, retiree send-off, lead shielding, burnt-out glovebox, scorpion with microchip—these are all captions to photographs of Germany’s first major nuclear research facility. In 1957, professional photographers began to make an on-site record of procedures at the Kernforschungszentrum Karlsruhe (KfK, Karlsruhe Nuclear Research Center). In 2017, the decision was made to digitize ten percent of this image archive. Based on current concerns regarding the whereabouts of contaminated nuclear waste, the publication brings together over thirty perspectives from the fields of art, sociology, politics, and science as well as accounts of people who were directly involved with the facility. ''10%: Concerning the image archive of a nuclear research center'' sets out to delineate and visualize the afterlife of nuclear research. German edition.
Larry Sultan: The swimmers
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Between 1978 and 1982, in a departure from the collaborative conceptual work that he had become known for, Larry Sultan photographed people learning to swim in public pools in San Francisco. Initially inspired by black-and-white documentary photograhs he found in a Red Cross swimming manual, Sultan soon began exploring an urge to create pictures that were physical,(...)
Larry Sultan: The swimmers
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Between 1978 and 1982, in a departure from the collaborative conceptual work that he had become known for, Larry Sultan photographed people learning to swim in public pools in San Francisco. Initially inspired by black-and-white documentary photograhs he found in a Red Cross swimming manual, Sultan soon began exploring an urge to create pictures that were physical, sensual, immersive, and painterly. The resulting work is saturated with colour and inflected by the unpredictable forms and chance abstractions which emerge through the distorted refractions of the water as a second lens. Often beautiful and regularly unsettling in their ambiguity, the series builds to create a feeling of sensory immersion alive with the fluid and uncertain atmospheres to which Sultan was drawn. This collection presents all the pictures from the series Sultan himself chose and exhibited, and expands to include additional images he marked on contact sheets as well as further selections from his archive which he likely never even reviewed.
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This book collects snapshots of a world unmistakably our own yet equally strange. Made through Thomas Demand’s renowned practice of constructing, photographing, and destroying meticulous paper models, this series captures minor, everyday moments based on iPhone photographs. Viewed together, they are an inventory of traces – signs of consumption, evidence of people just(...)
Thomas Demand: The Dailies, expanded edition
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This book collects snapshots of a world unmistakably our own yet equally strange. Made through Thomas Demand’s renowned practice of constructing, photographing, and destroying meticulous paper models, this series captures minor, everyday moments based on iPhone photographs. Viewed together, they are an inventory of traces – signs of consumption, evidence of people just departed or out of sight, spectres of things left behind. Demand describes the series as a form of Haiku: simple fragments strung together to inspire reflection and help us take stock of our daily lives. Just as they trigger deja vu through their performed, minimal repetition, they ask us to look again, and afresh, to discover an ordinary yet enlightening beauty. This new volume brings together the entirety of Demand’s series to date in an expanded edition interwoven with an extended essay by critic Hal Foster.
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Gessenwiese and Kanigsberg form part of a landscape that has been in a process of constant change since 1946. The overburden from the mining industry created radioactive spoil heaps and lakes that are being rehabilitated by various means: plants growing on Gessenwiese accumulate contaminants from the soil. Textiles are used to slowly dry out the lakes and bind the(...)
Susanne Kriemann: Ge(ssenwiese), K(anigsberg)
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Gessenwiese and Kanigsberg form part of a landscape that has been in a process of constant change since 1946. The overburden from the mining industry created radioactive spoil heaps and lakes that are being rehabilitated by various means: plants growing on Gessenwiese accumulate contaminants from the soil. Textiles are used to slowly dry out the lakes and bind the radioactive dust. The banked mounds are returned to the earth bit by bit. These continual changes to the volumes in the landscape and their afterlife are the conceptual starting point for "G(essenwiese) K(anigsberg)." In recent years, Susanne Kriemann has developed a radically expanded idea of photography that investigates new systems for registering events and geological periods.
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