2452 Résultats
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Another volume in the photographer's popular series of visual diaries, What We Have Seen is all about people and places in the long and convivial life of Robert Frank (born 1924). Opening and closing with the zoom on the dial of a clock tower, serving as a reminder of the silent but constant passage of time, the book is laden with memories and pictures of old photographs.(...)
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Another volume in the photographer's popular series of visual diaries, What We Have Seen is all about people and places in the long and convivial life of Robert Frank (born 1924). Opening and closing with the zoom on the dial of a clock tower, serving as a reminder of the silent but constant passage of time, the book is laden with memories and pictures of old photographs.(...)
Titre:
Robert Frank: What we have seen
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Another volume in the photographer's popular series of visual diaries, What We Have Seen is all about people and places in the long and convivial life of Robert Frank (born 1924). Opening and closing with the zoom on the dial of a clock tower, serving as a reminder of the silent but constant passage of time, the book is laden with memories and pictures of old photographs. Like a leitmotif carrying us through the images, the word "souvenir" pops up under a magnifying glass positioned on a French text as a reading device. Frank's house in Mabou is once again portrayed as a popular retreat for people such as Jack Kerouac, Gerhard Steidl, Allen Ginsberg, William S. Burroughs and Frank's family members. As ever, Frank's visual diaries constitute an important part of both his later work and developments in the ongoing art of the photobook.
Robert Frank: What we have seen
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Another volume in the photographer's popular series of visual diaries, What We Have Seen is all about people and places in the long and convivial life of Robert Frank (born 1924). Opening and closing with the zoom on the dial of a clock tower, serving as a reminder of the silent but constant passage of time, the book is laden with memories and pictures of old photographs. Like a leitmotif carrying us through the images, the word "souvenir" pops up under a magnifying glass positioned on a French text as a reading device. Frank's house in Mabou is once again portrayed as a popular retreat for people such as Jack Kerouac, Gerhard Steidl, Allen Ginsberg, William S. Burroughs and Frank's family members. As ever, Frank's visual diaries constitute an important part of both his later work and developments in the ongoing art of the photobook.
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livres
Publication:
mars 2016
mars 2016
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Monographies photo
Monographies photo
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In Spring 2015, the photographer Joel Meyerowitz sat at the work table in Giorgio Morandi’s Bologna home, in the exact spot where the painter had sat for over 40 years making his quiet, sublime still lifes. Here Meyerowitz looked at, touched, studied and connected with the more than 250 objects that Morandi painted. Using only the warm natural light in the room, he(...)
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In Spring 2015, the photographer Joel Meyerowitz sat at the work table in Giorgio Morandi’s Bologna home, in the exact spot where the painter had sat for over 40 years making his quiet, sublime still lifes. Here Meyerowitz looked at, touched, studied and connected with the more than 250 objects that Morandi painted. Using only the warm natural light in the room, he(...)
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Joel Meyerowitz: Morandi's Objects
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In Spring 2015, the photographer Joel Meyerowitz sat at the work table in Giorgio Morandi’s Bologna home, in the exact spot where the painter had sat for over 40 years making his quiet, sublime still lifes. Here Meyerowitz looked at, touched, studied and connected with the more than 250 objects that Morandi painted. Using only the warm natural light in the room, he photographed Morandi’s objects: vases, shells, pigment-filled bottles, silk flowers, tins, funnels, watering cans. In the photographs, each object sits on Morandi’s table, which still bears the marks the painter drew to set the positions of his subjects. In the background is the same paper that Morandi left on the wall, now brittle and yellow with age. Meyerowitz’s portraits of these dusty, aged objects are not only works of art themselves, but they offer insight into the humble subjects that Morandi transformed into his subtle and luminous paintings.
Joel Meyerowitz: Morandi's Objects
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In Spring 2015, the photographer Joel Meyerowitz sat at the work table in Giorgio Morandi’s Bologna home, in the exact spot where the painter had sat for over 40 years making his quiet, sublime still lifes. Here Meyerowitz looked at, touched, studied and connected with the more than 250 objects that Morandi painted. Using only the warm natural light in the room, he photographed Morandi’s objects: vases, shells, pigment-filled bottles, silk flowers, tins, funnels, watering cans. In the photographs, each object sits on Morandi’s table, which still bears the marks the painter drew to set the positions of his subjects. In the background is the same paper that Morandi left on the wall, now brittle and yellow with age. Meyerowitz’s portraits of these dusty, aged objects are not only works of art themselves, but they offer insight into the humble subjects that Morandi transformed into his subtle and luminous paintings.
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livres
Publication:
mars 2016
mars 2016
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Monographies photo
Monographies photo
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In his new book, Robert Polidori presents us with a large-format photograph of a city block in an improvisational, auto-constructed settlement in Mumbai, India. In an almost seamless progression that appears to expand like an accordion or folding-screen, the photograph is composed of multiple images imperceptibly overlaid and welded together in a complex process to form a(...)
$162.50
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In his new book, Robert Polidori presents us with a large-format photograph of a city block in an improvisational, auto-constructed settlement in Mumbai, India. In an almost seamless progression that appears to expand like an accordion or folding-screen, the photograph is composed of multiple images imperceptibly overlaid and welded together in a complex process to form a(...)
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Robert Polidori: 60 feet road, Bhatuya Nagar facades
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In his new book, Robert Polidori presents us with a large-format photograph of a city block in an improvisational, auto-constructed settlement in Mumbai, India. In an almost seamless progression that appears to expand like an accordion or folding-screen, the photograph is composed of multiple images imperceptibly overlaid and welded together in a complex process to form a panoramic view. Applying remote sensing techniques that are normally used in space cartography to street photography, Polidori ventures a photographic attempt to come to terms with the phenomena of adjacencies, observing and beholding what’s next to what.
Robert Polidori: 60 feet road, Bhatuya Nagar facades
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In his new book, Robert Polidori presents us with a large-format photograph of a city block in an improvisational, auto-constructed settlement in Mumbai, India. In an almost seamless progression that appears to expand like an accordion or folding-screen, the photograph is composed of multiple images imperceptibly overlaid and welded together in a complex process to form a panoramic view. Applying remote sensing techniques that are normally used in space cartography to street photography, Polidori ventures a photographic attempt to come to terms with the phenomena of adjacencies, observing and beholding what’s next to what.
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livres
livres
Publication:
juin 2016
juin 2016
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Monographies photo
Monographies photo
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Young German photographer Arne Schmitt’s black-and-white depictions of Cologne’s urban architecture, old and new, harken back to the theme-oriented photo-books of the 1950s and ’60s, which functioned as both political and social critique. Schmitt focuses his camera on the urban fabric of Cologne created by neo-liberal policies after WWII, inspired by the physical collapse(...)
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Young German photographer Arne Schmitt’s black-and-white depictions of Cologne’s urban architecture, old and new, harken back to the theme-oriented photo-books of the 1950s and ’60s, which functioned as both political and social critique. Schmitt focuses his camera on the urban fabric of Cologne created by neo-liberal policies after WWII, inspired by the physical collapse(...)
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Arne Schmitt: The new inequality: A Photo Book Tracing Neo-Liberal Architectures
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Young German photographer Arne Schmitt’s black-and-white depictions of Cologne’s urban architecture, old and new, harken back to the theme-oriented photo-books of the 1950s and ’60s, which functioned as both political and social critique. Schmitt focuses his camera on the urban fabric of Cologne created by neo-liberal policies after WWII, inspired by the physical collapse in 2009 of the Stadtarchiv, Europe’s largest and oldest historical city archive. Built in the 1970s, the Stadtarchiv’s structural failure could be seen as symbolic of the disastrous consequences of the neo-liberal economic policies in Germany, the U.S. and Britain that led to the 2008–9 global economic collapse. Critiques of neo-liberalism often run into difficulty because they lack a clearly defined object of focus. Faced with structural complexities, their analysis and criticism is often directed toward isolated instances. Schmitt confronts this political conversation with the resolutely straightforward approach of the documentary eye.
Arne Schmitt: The new inequality: A Photo Book Tracing Neo-Liberal Architectures
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Young German photographer Arne Schmitt’s black-and-white depictions of Cologne’s urban architecture, old and new, harken back to the theme-oriented photo-books of the 1950s and ’60s, which functioned as both political and social critique. Schmitt focuses his camera on the urban fabric of Cologne created by neo-liberal policies after WWII, inspired by the physical collapse in 2009 of the Stadtarchiv, Europe’s largest and oldest historical city archive. Built in the 1970s, the Stadtarchiv’s structural failure could be seen as symbolic of the disastrous consequences of the neo-liberal economic policies in Germany, the U.S. and Britain that led to the 2008–9 global economic collapse. Critiques of neo-liberalism often run into difficulty because they lack a clearly defined object of focus. Faced with structural complexities, their analysis and criticism is often directed toward isolated instances. Schmitt confronts this political conversation with the resolutely straightforward approach of the documentary eye.
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livres
Publication:
août 2016
août 2016
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Monographies photo
Monographies photo
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Diane Arbus (1923–1971) is one of the most distinctive and provocative artists of the twentieth century. Her photographs of children and eccentrics, couples and circus performers, female impersonators and nudists, are among the most recognizable images of our time. This book is the definitive study of the artist’s first seven years of work, from 1956 to 1962. Drawn(...)
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Diane Arbus (1923–1971) is one of the most distinctive and provocative artists of the twentieth century. Her photographs of children and eccentrics, couples and circus performers, female impersonators and nudists, are among the most recognizable images of our time. This book is the definitive study of the artist’s first seven years of work, from 1956 to 1962. Drawn(...)
Titre:
Diane Arbus: in the beginning
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Diane Arbus (1923–1971) is one of the most distinctive and provocative artists of the twentieth century. Her photographs of children and eccentrics, couples and circus performers, female impersonators and nudists, are among the most recognizable images of our time. This book is the definitive study of the artist’s first seven years of work, from 1956 to 1962. Drawn primarily from the rich holdings of the Metropolitan Museum’s Diane Arbus Archive—a remarkable treasury of photographs, negatives, appointment books, notebooks, and correspondence—it is an essential contribution to our understanding of Arbus and her oeuvre.
Diane Arbus: in the beginning
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Diane Arbus (1923–1971) is one of the most distinctive and provocative artists of the twentieth century. Her photographs of children and eccentrics, couples and circus performers, female impersonators and nudists, are among the most recognizable images of our time. This book is the definitive study of the artist’s first seven years of work, from 1956 to 1962. Drawn primarily from the rich holdings of the Metropolitan Museum’s Diane Arbus Archive—a remarkable treasury of photographs, negatives, appointment books, notebooks, and correspondence—it is an essential contribution to our understanding of Arbus and her oeuvre.
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livres
Publication:
juillet 2016
juillet 2016
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Monographies photo
Monographies photo
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For 30 years, David T. Hanson (born 1948) has made photographs that are widely celebrated for their powerful depictions of the American landscape and its dramatic transformation and despoilment by humans. His newest collection, Wilderness to Wasteland, presents four series of previously unpublished and unexhibited photographs from Hanson’s early work, made between 1982(...)
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For 30 years, David T. Hanson (born 1948) has made photographs that are widely celebrated for their powerful depictions of the American landscape and its dramatic transformation and despoilment by humans. His newest collection, Wilderness to Wasteland, presents four series of previously unpublished and unexhibited photographs from Hanson’s early work, made between 1982(...)
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Monographies photo
Monographies photo
Publication:
février 2016
février 2016
Titre:
David T. Hanson: Wilderness to Wasteland
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For 30 years, David T. Hanson (born 1948) has made photographs that are widely celebrated for their powerful depictions of the American landscape and its dramatic transformation and despoilment by humans. His newest collection, Wilderness to Wasteland, presents four series of previously unpublished and unexhibited photographs from Hanson’s early work, made between 1982 and 1987. Atomic City documents the former nuclear boomtown in Idaho, site of the world’s first nuclear power plant and first reactor meltdown. The Richest Hill on Earth is a study of the vast copper mines, housing and surrounding wasteland of Butte, Montana. The eponymous series is a dynamic group of aerial and ground-view photographs of hazardous waste sites, while the final series, Twilight in the Wilderness, comprises spectacular night views of industrial sites for power production. Together, these photographs constitute a haunting meditation on a ravaged landscape.
David T. Hanson: Wilderness to Wasteland
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For 30 years, David T. Hanson (born 1948) has made photographs that are widely celebrated for their powerful depictions of the American landscape and its dramatic transformation and despoilment by humans. His newest collection, Wilderness to Wasteland, presents four series of previously unpublished and unexhibited photographs from Hanson’s early work, made between 1982 and 1987. Atomic City documents the former nuclear boomtown in Idaho, site of the world’s first nuclear power plant and first reactor meltdown. The Richest Hill on Earth is a study of the vast copper mines, housing and surrounding wasteland of Butte, Montana. The eponymous series is a dynamic group of aerial and ground-view photographs of hazardous waste sites, while the final series, Twilight in the Wilderness, comprises spectacular night views of industrial sites for power production. Together, these photographs constitute a haunting meditation on a ravaged landscape.
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livres
livres
Publication:
février 2016
février 2016
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Monographies photo
Monographies photo
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The acclaimed Japanese architect Kengo Kuma (born 1954) and photographer Erieta Attali complement one another perfectly in terms of their artistic statement: both of them focus on the inclusion of the landscape. It is not the architecture as such that plays the primary role but the way in which it communicates with the surrounding world. Details from nature and the(...)
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The acclaimed Japanese architect Kengo Kuma (born 1954) and photographer Erieta Attali complement one another perfectly in terms of their artistic statement: both of them focus on the inclusion of the landscape. It is not the architecture as such that plays the primary role but the way in which it communicates with the surrounding world. Details from nature and the(...)
Titre:
Glass / Wood: Erieta Attali on Kengo Kuma
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The acclaimed Japanese architect Kengo Kuma (born 1954) and photographer Erieta Attali complement one another perfectly in terms of their artistic statement: both of them focus on the inclusion of the landscape. It is not the architecture as such that plays the primary role but the way in which it communicates with the surrounding world. Details from nature and the intricate connection of interior with exterior space characterize the photographs by Attali. In his unique works, Kuma combines Japanese traditions in architecture with those of modernist architecture. His architecture constitutes a bridge where the individual and nature meet. Kuma became famous in the West for his sensitive extension to a mid-century icon in New Canaan, Connecticut, which this exquisite monograph insightfully discusses and portrays.
Glass / Wood: Erieta Attali on Kengo Kuma
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The acclaimed Japanese architect Kengo Kuma (born 1954) and photographer Erieta Attali complement one another perfectly in terms of their artistic statement: both of them focus on the inclusion of the landscape. It is not the architecture as such that plays the primary role but the way in which it communicates with the surrounding world. Details from nature and the intricate connection of interior with exterior space characterize the photographs by Attali. In his unique works, Kuma combines Japanese traditions in architecture with those of modernist architecture. His architecture constitutes a bridge where the individual and nature meet. Kuma became famous in the West for his sensitive extension to a mid-century icon in New Canaan, Connecticut, which this exquisite monograph insightfully discusses and portrays.
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livres
livres
Publication:
février 2016
février 2016
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Monographies photo
Monographies photo
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In the 1970s, from his base in Los Angeles, artist Robert Cumming (born 1943) made functional-looking but ultimately useless constructions, created primarily to be photographed with his 8x10 camera. Playing with props, proportions, unusual angles, light and mirrors, Cumming invited viewers to look in--and then to look again, second-guessing what they saw. The Difficulties(...)
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In the 1970s, from his base in Los Angeles, artist Robert Cumming (born 1943) made functional-looking but ultimately useless constructions, created primarily to be photographed with his 8x10 camera. Playing with props, proportions, unusual angles, light and mirrors, Cumming invited viewers to look in--and then to look again, second-guessing what they saw. The Difficulties(...)
Titre:
Robert Cumming: the difficulties of nonsense
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In the 1970s, from his base in Los Angeles, artist Robert Cumming (born 1943) made functional-looking but ultimately useless constructions, created primarily to be photographed with his 8x10 camera. Playing with props, proportions, unusual angles, light and mirrors, Cumming invited viewers to look in--and then to look again, second-guessing what they saw. The Difficulties of Nonsense is the first comprehensive publication to survey Cumming’s significant series of conceptual black-and-white and color photographs from the 1970s, now a touchstone for contemporary artists, and focus on the artist’s fascination with illusion and trickery. With an essay by Sarah Bay Gachot and an interview by David Campany, this monograph pays homage to a time when Cumming, and many in the photographic community, worked to playfully push the boundaries of photography and narrative.
Robert Cumming: the difficulties of nonsense
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In the 1970s, from his base in Los Angeles, artist Robert Cumming (born 1943) made functional-looking but ultimately useless constructions, created primarily to be photographed with his 8x10 camera. Playing with props, proportions, unusual angles, light and mirrors, Cumming invited viewers to look in--and then to look again, second-guessing what they saw. The Difficulties of Nonsense is the first comprehensive publication to survey Cumming’s significant series of conceptual black-and-white and color photographs from the 1970s, now a touchstone for contemporary artists, and focus on the artist’s fascination with illusion and trickery. With an essay by Sarah Bay Gachot and an interview by David Campany, this monograph pays homage to a time when Cumming, and many in the photographic community, worked to playfully push the boundaries of photography and narrative.
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livres
livres
Publication:
mai 2016
mai 2016
Sujet:
Monographies photo
Monographies photo
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$105.00
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''The Alphabet of New Plants'' makes direct reference to Karl Blossfeldt’s 1928 ''The Alphabet of Plants'', German photographer Robert Voit (born 1969) assembles an archive of "new" flowers and portrays them against a neutral background, playfully exposing man’s urge to imitate nature. Voit’s earlier series, ''New Trees'', also addressed the imitation of nature, featuring(...)
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''The Alphabet of New Plants'' makes direct reference to Karl Blossfeldt’s 1928 ''The Alphabet of Plants'', German photographer Robert Voit (born 1969) assembles an archive of "new" flowers and portrays them against a neutral background, playfully exposing man’s urge to imitate nature. Voit’s earlier series, ''New Trees'', also addressed the imitation of nature, featuring(...)
Titre:
Robert Voit: The alphabet of new plants
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''The Alphabet of New Plants'' makes direct reference to Karl Blossfeldt’s 1928 ''The Alphabet of Plants'', German photographer Robert Voit (born 1969) assembles an archive of "new" flowers and portrays them against a neutral background, playfully exposing man’s urge to imitate nature. Voit’s earlier series, ''New Trees'', also addressed the imitation of nature, featuring large-format photographs of mobile telephone antennae that blend into the landscape camouflaged as trees, cacti or palm trees. Extending these themes, Voit blurs the distinction between the natural and the artificial with the meticulous close-ups of this new volume.
Robert Voit: The alphabet of new plants
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''The Alphabet of New Plants'' makes direct reference to Karl Blossfeldt’s 1928 ''The Alphabet of Plants'', German photographer Robert Voit (born 1969) assembles an archive of "new" flowers and portrays them against a neutral background, playfully exposing man’s urge to imitate nature. Voit’s earlier series, ''New Trees'', also addressed the imitation of nature, featuring large-format photographs of mobile telephone antennae that blend into the landscape camouflaged as trees, cacti or palm trees. Extending these themes, Voit blurs the distinction between the natural and the artificial with the meticulous close-ups of this new volume.
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livres
livres
Publication:
mars 2016
mars 2016
Sujet:
Monographies photo
Monographies photo
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livres
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$64.95
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Photobooth Pieces brings together for the first time in print a body of work little known or seen for nearly 40 years, by the pioneering American performance artist Jared Bark (born 1944). The selection of pictures in this volume covers a short but intense period of activity that the artist, a leading figure in the New York art world, undertook in his SoHo loft during the(...)
$64.95
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Résumé:
Photobooth Pieces brings together for the first time in print a body of work little known or seen for nearly 40 years, by the pioneering American performance artist Jared Bark (born 1944). The selection of pictures in this volume covers a short but intense period of activity that the artist, a leading figure in the New York art world, undertook in his SoHo loft during the(...)
Titre:
Jared Bark: Photobooth pieces
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Photobooth Pieces brings together for the first time in print a body of work little known or seen for nearly 40 years, by the pioneering American performance artist Jared Bark (born 1944). The selection of pictures in this volume covers a short but intense period of activity that the artist, a leading figure in the New York art world, undertook in his SoHo loft during the first half of the 1970s. These innovative constructions, assembled from photobooth strips, are an important addition to the history of art and photography of that time. The works are all reproduced at full scale and the book includes an essay by art historian Catherine Damman and an interview with the artist by Hannah Howe and Elizabeth Easton.
Jared Bark: Photobooth pieces
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Photobooth Pieces brings together for the first time in print a body of work little known or seen for nearly 40 years, by the pioneering American performance artist Jared Bark (born 1944). The selection of pictures in this volume covers a short but intense period of activity that the artist, a leading figure in the New York art world, undertook in his SoHo loft during the first half of the 1970s. These innovative constructions, assembled from photobooth strips, are an important addition to the history of art and photography of that time. The works are all reproduced at full scale and the book includes an essay by art historian Catherine Damman and an interview with the artist by Hannah Howe and Elizabeth Easton.
Classification:
livres
livres
Publication:
février 2016
février 2016
Sujet:
Monographies photo
Monographies photo
