Kyunghee Lee : Des oiseaux
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Dans cet ouvrage de la collection «Des oiseaux», la photographe sud-coréenne Kyunghee Lee nous embarque dans les forêts hivernales de l’extrême sud de son pays, à la rencontre des corbeaux. À la tombée de la nuit, immobile, attendant les oiseaux durant leur migration depuis la Sibérie, la photographe se cache parmi les arbres, son trépied protégé du grand froid qui règne(...)
Kyunghee Lee : Des oiseaux
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Dans cet ouvrage de la collection «Des oiseaux», la photographe sud-coréenne Kyunghee Lee nous embarque dans les forêts hivernales de l’extrême sud de son pays, à la rencontre des corbeaux. À la tombée de la nuit, immobile, attendant les oiseaux durant leur migration depuis la Sibérie, la photographe se cache parmi les arbres, son trépied protégé du grand froid qui règne alors à cette saison. Des volées de corbeaux surgissent du lointain, comme orchestrées par un invisible chorégraphe. L’air est rempli de leurs cris puissants, excluant tout autre sonorité de la forêt. La photographe sait qu’elle a peu de temps, elle appuie prudemment sur le bouton de l’obturateur, concentrée, maîtrisant le moindre bruit. Soudain, un silence complet se fait, l’obscurité est totale et l’air froid devient presque compact. La forêt offre aux oiseaux son hospitalité. Dans un puissant noir et blanc aux nuances de gris velouté, Kyunghee Lee nous immerge dans le monde mystérieux de ces oiseaux qui peuplent nos mythes et légendes.
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In his selection of 70 photographs by Lee Friedlander, acclaimed filmmaker Joel Coen focuses on Friedlander’s beautifully strange sense of composition, in which images are off kilter and visually dense, bisected and carved by stop signs and utility poles, store windows and reflections, car doors and windshields or shadows and trees. "As a filmmaker, I liked the idea of(...)
Lee Friedlander framed by Joel Coen
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In his selection of 70 photographs by Lee Friedlander, acclaimed filmmaker Joel Coen focuses on Friedlander’s beautifully strange sense of composition, in which images are off kilter and visually dense, bisected and carved by stop signs and utility poles, store windows and reflections, car doors and windshields or shadows and trees. "As a filmmaker, I liked the idea of creating a sequence that would highlight Lee’s unusual approach to framing?his splitting, splintering, repeating, fracturing and reassembling elements into new and impossible compositions," Coen writes. Featuring work spanning more than 60 years, the book includes selections from some of Friedlander’s most celebrated series, including ''The American Monument,'' ''America by Car,'' ''The Little Screens'' and others, arranged to draw connections between form and composition rather than subject. In an afterword, renowned actor Frances McDormand describes the bond between the two artists: "they both capture and fill frames with sometimes simple and other times chaotically elaborate images that cause us all to wonder."
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Lee Friedlander: Real estate
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This volume presents 155 photographs spanning 60 years of the artist’s exploration of the built environment in the American social landscape. Collectively these photographs add to one of the broadest and most nuanced visual explorations of America, and, individually, they are filled with the kind of intellectual humor and observation for which Friedlander has become(...)
Lee Friedlander: Real estate
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This volume presents 155 photographs spanning 60 years of the artist’s exploration of the built environment in the American social landscape. Collectively these photographs add to one of the broadest and most nuanced visual explorations of America, and, individually, they are filled with the kind of intellectual humor and observation for which Friedlander has become celebrated. Along the way, of course, Friedlander has expanded our ideas of what constitutes real estate, just as he continues to compel us to reconsider how photography reveals essential aspects of our lives over time. The mirror that Lee Friedlander holds up to us is his mirror and everything reflected in it has the common traits of his way of seeing—each picture is definitively a Friedlander picture.
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Jordan Weitzman’s Participation is a riot of off-kilter perspective and weird synchronicities, a book of photography where people, places, and things casually tangle up into beautifully baffling configurations. Through the power of close observation, Weitzman captures the world at a slant where naked bodies form sultry architecture and everyday clutter assembles into fine(...)
Jordan Weitzman: Participation
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Jordan Weitzman’s Participation is a riot of off-kilter perspective and weird synchronicities, a book of photography where people, places, and things casually tangle up into beautifully baffling configurations. Through the power of close observation, Weitzman captures the world at a slant where naked bodies form sultry architecture and everyday clutter assembles into fine art. Complimented by a Louis Fratino dust jacket of half-etched figures and mysterious symbols, the book’s sequence is intimate and playful while never spelling itself out. Participation is the product of the photographer fully embedding in his circumstances and locating with an exacting compositional eye where the goofiness and boredom of everyday life drift into formal complexity and undefinable emotional states. The title is an invitation as much as it is a challenge, not only descriptive of Weitzman’s willingness to get in and meet his subjects head, waist, or side-on but for the viewer to crane their neck and pick apart his gorgeously twisted poetry of the strange ways people come together.
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''Of Wu-Tang and things…I’d say off the bat it’s the Ol' dirty bastard, asking me to destroy the negatives, that will never leave me. Meth showing me his new trick with eye and cap. U-god with a plaster on his face. The Rza in a bath tub at the Met hotel. Watching the entire Wu-Tang Clan getting passport pictures at Earl Court station. The Shows. The distinct smell of(...)
Eddie Otchere: Wu-Tang Clan 1994-2004
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''Of Wu-Tang and things…I’d say off the bat it’s the Ol' dirty bastard, asking me to destroy the negatives, that will never leave me. Meth showing me his new trick with eye and cap. U-god with a plaster on his face. The Rza in a bath tub at the Met hotel. Watching the entire Wu-Tang Clan getting passport pictures at Earl Court station. The Shows. The distinct smell of blunts and weed that hung in the air. Papa Wu inviting me on the coach and traveling from Putney to Kentish Town with a pit stop in Earls Court. Young dirty Bastard’s performance of Shimmy Shimmy Ya Shimmy Yam Shimmy yah. From the first encounter to my last, the Wu have never failed to disappoint. What you have here a rarified glimpse at the lead images and contact sheets of seeking out members of the Wu-Tang Clan and putting their mythos on blast. I got one shot. This was the last time we held a cipher.'' -EO
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''My pictures were part of an extended project on Hull, then suffering both the loss of its fishing industry and a programme of extensive redevelopment which appeared to be turning its back on the city's history and replacing areas which had been human and vibrant with depressing wastelands, failing to learn the lessons that were already apparent from elsewhere in the(...)
Peter Marshall: The River Hull 1977-85
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''My pictures were part of an extended project on Hull, then suffering both the loss of its fishing industry and a programme of extensive redevelopment which appeared to be turning its back on the city's history and replacing areas which had been human and vibrant with depressing wastelands, failing to learn the lessons that were already apparent from elsewhere in the country. 'Still Occupied - A View of Hull' was shown at the Ferens Art Gallery in Hull in 1983, and the work here is from one of the eight sections of my self-published book and web site on Hull.'' - PM
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''I used my first camera, an Asahi Pentax Spotmatic with 20-, 28-, 50-, 135- and 300mm Super Takumar lenses, until I bought a Leica M4 in 1971. From then on I used the Leica with 35- and 50mm Summicron lenses exclusively. I printed only very rarely and very little, and for the next forty-odd years I had these photographs, taken in 1968-77, only in the form of contact(...)
Dragan Novakovic: Manchester & Oldham 1970s
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''I used my first camera, an Asahi Pentax Spotmatic with 20-, 28-, 50-, 135- and 300mm Super Takumar lenses, until I bought a Leica M4 in 1971. From then on I used the Leica with 35- and 50mm Summicron lenses exclusively. I printed only very rarely and very little, and for the next forty-odd years I had these photographs, taken in 1968-77, only in the form of contact sheets. Thanks to digital, I saw them properly as 'enlargements' for the first time in 2012 after I had scanned the negatives and post-processed the files.'' - DN Dragan Novakovic is a Serbian photographer born in 1946. He bought his first camera in 1968 and taught himself to develop and print. He photographed London and Northern England, mostly as a hobby.
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''In 1969 the Architectural Review invited guest editor Tim Rock to produce a few issues of the magazine. His brief was to take a hard look at the state of Britain, which must have come as a rude awakening for the readers of this conservative journal. I was lucky to receive the opening assignment for this ambitious project and spent the following six weeks recording the(...)
Patrick Ward : Manplan 1 & 2, Britain in the late 1960s (2 vol.)
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''In 1969 the Architectural Review invited guest editor Tim Rock to produce a few issues of the magazine. His brief was to take a hard look at the state of Britain, which must have come as a rude awakening for the readers of this conservative journal. I was lucky to receive the opening assignment for this ambitious project and spent the following six weeks recording the frustrations surrounding life, work and leisure in the Britain of the late 1960s. The result was a photo essay called 'Manplan' which ran for 75 pages in the magazine and from which these images are drawn. The project ran for several more issues, with other editorial photographers exploring more specific subjects for the project. However, I think it’s fair to surmise that the magazine, its readers, and its advertisers were relieved to return to the safer territory of architectural photography, with its correct verticals and its political correctness too!'' - PW
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''This is Toronto 50 years ago, 52 years had passed since 1918, the end of the first World War and 1970 the first year of these pictures. And since the last of the photos were made in 1972, another 50 years have passed. The appearance of people has changed little, smoking is not as common, there were no computers. The cars and phones are greater visual cues. But it is a(...)
Tony Bock: Social Landscapes Toronto 1970-72
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''This is Toronto 50 years ago, 52 years had passed since 1918, the end of the first World War and 1970 the first year of these pictures. And since the last of the photos were made in 1972, another 50 years have passed. The appearance of people has changed little, smoking is not as common, there were no computers. The cars and phones are greater visual cues. But it is a very different world we live in today.'' - TB Tony Bock is a British-born photographer who emigrated to Canada with his parents in 1952. His photographs provide a glimpse into the changing social and cultural fabric of Toronto during a time of significant transformation. Bock worked as photographer for the Toronto Star for over 30 years.
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Gursky’s large-scale images frame the contemporary landscape and define our experience of the world and this exhibition has been curated by reference to the parameters of the MAST collection – Manifattura di Arti, Sperimentazione e Tecnologia / Manufacture of Art, Experience, and Technology. The forty-one spectacular large-format photographs open up peculiar perspectives(...)
Andreas Gursky: Visual spaces of today
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Gursky’s large-scale images frame the contemporary landscape and define our experience of the world and this exhibition has been curated by reference to the parameters of the MAST collection – Manifattura di Arti, Sperimentazione e Tecnologia / Manufacture of Art, Experience, and Technology. The forty-one spectacular large-format photographs open up peculiar perspectives on the world of work, the economy, and globalisation, revealing striking views of production sites, goods handling centres, temples of consumption, transport hubs, energy and food production, and the financial industry. This volume, published on the occasion of the tenth anniversary of Fondazione MAST, includes all forty-one exhibited photographs alongside a critical essay by curator Urs Stahel, who sheds new light on the research and practice of a leading international artist whose work pushes the boundaries of photography while deepening our understanding of our times.
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