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Between 1973 and ’76, Mitch Epstein (born 1952) photographed in American cities- New York, Los Angeles and New Orleans, among others. He was initially shooting in black and white as a student of Garry Winogrand, when he asked his teacher, ''Why not color?'' With Winogrand’s blessing, Epstein shot his first rolls of Kodachrome. ''Silver + Chrome'' is a chronicle of his(...)
Mitch Epstein: Silver + Chrome
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Between 1973 and ’76, Mitch Epstein (born 1952) photographed in American cities- New York, Los Angeles and New Orleans, among others. He was initially shooting in black and white as a student of Garry Winogrand, when he asked his teacher, ''Why not color?'' With Winogrand’s blessing, Epstein shot his first rolls of Kodachrome. ''Silver + Chrome'' is a chronicle of his three years alternating between color and black and white, before eventually committing to color. This book contains Epstein’s earliest work, virtually none of which has been seen before. In these kinetic tableaux, the artist’s exuberance is tamed, just barely, by his formal intelligence. He depicts American city life as it undergoes taboo-shattering sexual liberation, economic crises and the repercussions of a boondoggle war in Vietnam, immersing us in the urban chaos of this complicated time.
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George Byrne: Post truth
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Turning the spatial flotsam of the Anthropocene, or what architect Rem Koolhaas famously referred to as ''junkspace,'' into candy-colored dreamscapes, photographer George Byrne depicts the gritty urbanism of Los Angeles in sublime otherworldliness. Arriving a decade ago, the Australian artist was immediately enthralled by the sprawling cityscape, mesmerized by the way the(...)
George Byrne: Post truth
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Turning the spatial flotsam of the Anthropocene, or what architect Rem Koolhaas famously referred to as ''junkspace,'' into candy-colored dreamscapes, photographer George Byrne depicts the gritty urbanism of Los Angeles in sublime otherworldliness. Arriving a decade ago, the Australian artist was immediately enthralled by the sprawling cityscape, mesmerized by the way the sunlight transformed it into two-dimensional, almost painterly abstractions. In his Post Truth series (2015–20), Byrne reassembles his photos of the urban landscape into striking, ascetic collages of color and geometric fragments, creating postmodernist oases in the metropolis. By masterfully harnessing the malleability of the photographic medium, the photographer situates his work in the space between real and imagined. Byrne’s compositions evoke associations with Miami Beach’s Art Deco, the Memphis Group’s designs, as well as the painting of David Hockney or Ed Ruscha, and at the same time tap into the aesthetics of today’s visual culture played out on Instagram.
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Pauline Julier: Meadow
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This publication is part of the Occupy Mars project conducted by Pauline Julier and Clément Postec, which sees Mars as a mirror of Earth at the dawn of the new age of space exploration, extractivism, and colonialism. Through a series of films, publications, and public discussions, it bridges multiple alternative perspectives that question both past and future to bring new(...)
Pauline Julier: Meadow
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This publication is part of the Occupy Mars project conducted by Pauline Julier and Clément Postec, which sees Mars as a mirror of Earth at the dawn of the new age of space exploration, extractivism, and colonialism. Through a series of films, publications, and public discussions, it bridges multiple alternative perspectives that question both past and future to bring new narratives to the fore and give insurgent voices a platform. A first exploration took place in the Atacama Desert in Chile, where the training sites for NASA's rovers are located next to one of the largest lithium mines in the world. Published on the occasion of Julier’s exhibition near the Mauvoisin Dam in Switzerland.
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Une rétrospective consacrée au photographe ghanéen J. Barnor, montrant des clichés d'Accra et de Londres, de l'époque coloniale aux années 1980. Exposition dans le cadre des Rencontres internationales de la photographie d'Arles.
James Barnor: stories (éd. f.)
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Une rétrospective consacrée au photographe ghanéen J. Barnor, montrant des clichés d'Accra et de Londres, de l'époque coloniale aux années 1980. Exposition dans le cadre des Rencontres internationales de la photographie d'Arles.
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Christian Helmle: Stralau
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The exhibition catalog ''Stralau'' takes the viewer on a voyage of discovery through the oeuvre of the Thun-based photographer Christian Helmle. In his photographs, Helmle deals with themes such as nature, architecture, and humans, whereby structures and topographies also appear time and again in his expressive works. The photos are accompanied by a foreword by Helen(...)
Christian Helmle: Stralau
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The exhibition catalog ''Stralau'' takes the viewer on a voyage of discovery through the oeuvre of the Thun-based photographer Christian Helmle. In his photographs, Helmle deals with themes such as nature, architecture, and humans, whereby structures and topographies also appear time and again in his expressive works. The photos are accompanied by a foreword by Helen Hirsch, Director of the Kunstmuseum Thun, as well as contributions by Konrad Tobler and Alisa Klay. While Tobler’s essay examines the tectonics and dynamics in Helmle’s photographs, Klay explores the photographer’s latest series of works as well as people in the urban social environment. The catalog is published on the occasion of the eponymous exhibition at the Kunstmuseum Thun and offers viewers a comprehensive insight into the artistic work of Christian Helmle.
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Friso Keuris: Tito
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his book is about a country that was once called Yugoslavia and was ruled by Josip Broz Tito. From the 1950's onwards, Tito spent his summers at Brijuni, a small archipelago along the west coast of the Istrian region of Croatia. This former summer residence embodies the beginning and the end of the Yugoslavian dream, in which Tito firmly believed. His private dwellings,(...)
Friso Keuris: Tito
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his book is about a country that was once called Yugoslavia and was ruled by Josip Broz Tito. From the 1950's onwards, Tito spent his summers at Brijuni, a small archipelago along the west coast of the Istrian region of Croatia. This former summer residence embodies the beginning and the end of the Yugoslavian dream, in which Tito firmly believed. His private dwellings, which are still kept in order on a daily basis, are strictly forbidden to the public. Between 2001 and 2017, Dutch photographer Friso Keuris pictured the personnel and the interior of the Tribunal. In 2016, he was free to photograph the idyllic, utopian world of Brijuni. This book also shows images of the International Criminal Tribunal for the former Yugoslavia. The UN court dealt with the war crimes committed during the civil war from 1991 to 2000.
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The forms of nameless things
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William Henry Fox Talbot, the English inventor of photography, created around 15,000 photographs in the nineteenth century, most of them attempts to produce compelling scientific documents or pictorial records of the world around him. However, among those that have survived are also prints in which an image has been obscured, obliterated or simply failed to register.(...)
The forms of nameless things
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William Henry Fox Talbot, the English inventor of photography, created around 15,000 photographs in the nineteenth century, most of them attempts to produce compelling scientific documents or pictorial records of the world around him. However, among those that have survived are also prints in which an image has been obscured, obliterated or simply failed to register. Borrowing its intriguing title from a poem written by Talbot, this book features twenty-four of these prints, his most experimental photographs. Originally intended as test prints or creative exercises, all that remains on these shaped pieces of photographic paper are chemical stains or imprinted patterns or shapes.
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Frederick Law Olmsted (1822–1903) is considered the father of landscape architecture in the United States for his creation of several renowned urban parks and park systems around the country. Whether in Central Park in New York, the Emerald Necklace in Boston, or the park systems of Chicago, Milwaukee, Buffalo, Rochester, and Louisville—trees are essential elements of all(...)
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août 2022
Stanley Greenberg: Olmsted trees
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Frederick Law Olmsted (1822–1903) is considered the father of landscape architecture in the United States for his creation of several renowned urban parks and park systems around the country. Whether in Central Park in New York, the Emerald Necklace in Boston, or the park systems of Chicago, Milwaukee, Buffalo, Rochester, and Louisville—trees are essential elements of all of Olmsted’s park designs. Through Stanley Greenberg’s stunning series of black and white photographs of the trees that date to the beginnings of these parks, this volume offers an intimate encounter with Olmsted, his motifs, and his heritage. Three essays by renowned experts on history, sociology, and landscape architecture complement the narrative and present an interdisciplinary vision of Olmsted’s achievement.
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This book documents a unique long-term project that Swiss photographers Françoise and Daniel Cartier have been pursuing since 1998. They have put together a vast collection of unfixed photographic papers, glass negatives, and films, mostly dating from 1880 to 1990. Samples of these are mounted and displayed, and, over the course of several exhibitions, exposed to light(...)
Françoise and Daniel Cartier: The Never Taken images, photographic paper archive
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This book documents a unique long-term project that Swiss photographers Françoise and Daniel Cartier have been pursuing since 1998. They have put together a vast collection of unfixed photographic papers, glass negatives, and films, mostly dating from 1880 to 1990. Samples of these are mounted and displayed, and, over the course of several exhibitions, exposed to light causing them to evolve towards color saturation. This publication features the entire test catalog that the Cartiers have put together to date, showing some nine hundred different papers and photosensitive supports. These facsimiles offer an almost real impression of their formats, colors, and materiality.
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Pour réaliser ce nouveau travail, Lionel Jusseret s'est immergé durant 6 mois dans le quotidien d'une maison de retraite. Il y rencontre une communauté invisible qui malgré elle, se retrouve en marge de la société. Ces hommes et ces femmes nés entre 1920 et 1945, appelés la génération silencieuse. Ayant traversé la Seconde Guerre mondiale, ils ont connu le manque et ont(...)
Lionel Jusseret : Les impatientes
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Pour réaliser ce nouveau travail, Lionel Jusseret s'est immergé durant 6 mois dans le quotidien d'une maison de retraite. Il y rencontre une communauté invisible qui malgré elle, se retrouve en marge de la société. Ces hommes et ces femmes nés entre 1920 et 1945, appelés la génération silencieuse. Ayant traversé la Seconde Guerre mondiale, ils ont connu le manque et ont travaillé dur toute leur vie. Peu revendicatifs, ils sont décrits comme fatalistes et conventionnels. Cette vision généraliste et quelque peu réductrice ne rend que peu hommage à ces Mamy et Papy, dont l'univers en papier peint fleuri fait écho à lui seul à toute notre enfance, à nos mémoires affective et collective...
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