2494 Résultats
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The photographs by Richard Misrach assembled in this volume are a stark, affecting reminders of the physical and psychological impact of Hurricane Katrina as told by those on the ground, and seen through the lens of a contemporary master. Rather than simply surveying the damage, Misrach-who has photographed the region regularly since the 1970s, most notably for his(...)
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The photographs by Richard Misrach assembled in this volume are a stark, affecting reminders of the physical and psychological impact of Hurricane Katrina as told by those on the ground, and seen through the lens of a contemporary master. Rather than simply surveying the damage, Misrach-who has photographed the region regularly since the 1970s, most notably for his(...)
Titre:
Richard Misrach: Destroy this memory
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The photographs by Richard Misrach assembled in this volume are a stark, affecting reminders of the physical and psychological impact of Hurricane Katrina as told by those on the ground, and seen through the lens of a contemporary master. Rather than simply surveying the damage, Misrach-who has photographed the region regularly since the 1970s, most notably for his ongoing "Cancer Alley" project-found himself drawn to the hurricane-inspired graffiti. "Destroy This Memory" presents previously unpublished and starkly compelling material, all of which Misrach shot with his 4 MP pocket camera while also working on a separate archive of over 1,000 photographs with his 8 x 10 large-format camera. Created between October and December 2005, this series of images serves as a potent, unalloyed document of the raw experiences of those left to fend for themselves in the aftermath of Katrina. With no essay, titles or even page numbers in the way, the words on these homes, cars and trees offer a searing testament that continues to speak volumes.
Richard Misrach: Destroy this memory
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The photographs by Richard Misrach assembled in this volume are a stark, affecting reminders of the physical and psychological impact of Hurricane Katrina as told by those on the ground, and seen through the lens of a contemporary master. Rather than simply surveying the damage, Misrach-who has photographed the region regularly since the 1970s, most notably for his ongoing "Cancer Alley" project-found himself drawn to the hurricane-inspired graffiti. "Destroy This Memory" presents previously unpublished and starkly compelling material, all of which Misrach shot with his 4 MP pocket camera while also working on a separate archive of over 1,000 photographs with his 8 x 10 large-format camera. Created between October and December 2005, this series of images serves as a potent, unalloyed document of the raw experiences of those left to fend for themselves in the aftermath of Katrina. With no essay, titles or even page numbers in the way, the words on these homes, cars and trees offer a searing testament that continues to speak volumes.
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Publication:
septembre 2010
septembre 2010
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livres
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Andreas Herzau : Istanbul
Andreas Herzau : Istanbul
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Prompted by the debate surrounding Turkey's potential membership in the European Union, German photographer Andreas Herzau (born 1962) began documenting life in the country. Situated at the border of Europe and Asia, Istanbul, the photographer found, sums up the challenges and opportunities facing Turkey today. Herzau's images precisely capture the many facets of the(...)
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Prompted by the debate surrounding Turkey's potential membership in the European Union, German photographer Andreas Herzau (born 1962) began documenting life in the country. Situated at the border of Europe and Asia, Istanbul, the photographer found, sums up the challenges and opportunities facing Turkey today. Herzau's images precisely capture the many facets of the(...)
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Andreas Herzau : Istanbul
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Prompted by the debate surrounding Turkey's potential membership in the European Union, German photographer Andreas Herzau (born 1962) began documenting life in the country. Situated at the border of Europe and Asia, Istanbul, the photographer found, sums up the challenges and opportunities facing Turkey today. Herzau's images precisely capture the many facets of the Turkish port where tradition and modernity collide.
Andreas Herzau : Istanbul
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Prompted by the debate surrounding Turkey's potential membership in the European Union, German photographer Andreas Herzau (born 1962) began documenting life in the country. Situated at the border of Europe and Asia, Istanbul, the photographer found, sums up the challenges and opportunities facing Turkey today. Herzau's images precisely capture the many facets of the Turkish port where tradition and modernity collide.
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Publication:
octobre 2010
octobre 2010
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Monographies photo
Monographies photo
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Mexico's White Mountain was once home to the indigenous pre-Columbian Zapotec civilization. Photographer Pablo Ortíz Monasterio engages this foundational mythology by documenting its physical manifestations in contemporary life, as depicted on decorative murals, key chains, ashtrays and pony glasses.
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Mexico's White Mountain was once home to the indigenous pre-Columbian Zapotec civilization. Photographer Pablo Ortíz Monasterio engages this foundational mythology by documenting its physical manifestations in contemporary life, as depicted on decorative murals, key chains, ashtrays and pony glasses.
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Monographies photo
Monographies photo
Publication:
octobre 2010
octobre 2010
Titre:
Pablo Otiz Monasterio: White mountain
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Mexico's White Mountain was once home to the indigenous pre-Columbian Zapotec civilization. Photographer Pablo Ortíz Monasterio engages this foundational mythology by documenting its physical manifestations in contemporary life, as depicted on decorative murals, key chains, ashtrays and pony glasses.
Pablo Otiz Monasterio: White mountain
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Mexico's White Mountain was once home to the indigenous pre-Columbian Zapotec civilization. Photographer Pablo Ortíz Monasterio engages this foundational mythology by documenting its physical manifestations in contemporary life, as depicted on decorative murals, key chains, ashtrays and pony glasses.
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Publication:
octobre 2010
octobre 2010
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Monographies photo
Monographies photo
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David T. Hanson's photographs of the coal-mining town of Colstrip, Montana, and the ruined landscape around it were exhibited by John Szarkowski at the Museum of Modern Art in New York in 1986. The work signaled a shift in American landscape photography, away from the cool modernism of the New Topographics. For this publication, Hanson has added 21 images and re-sequenced(...)
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David T. Hanson's photographs of the coal-mining town of Colstrip, Montana, and the ruined landscape around it were exhibited by John Szarkowski at the Museum of Modern Art in New York in 1986. The work signaled a shift in American landscape photography, away from the cool modernism of the New Topographics. For this publication, Hanson has added 21 images and re-sequenced(...)
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David T. Hanson: Colstrip, Montana
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David T. Hanson's photographs of the coal-mining town of Colstrip, Montana, and the ruined landscape around it were exhibited by John Szarkowski at the Museum of Modern Art in New York in 1986. The work signaled a shift in American landscape photography, away from the cool modernism of the New Topographics. For this publication, Hanson has added 21 images and re-sequenced the series. Although the photographs were made in the early 1980s, they are perhaps even more relevant today, given growing concerns about energy production, environmental degradation and climate change. The pictures remain tragic reflections of a despoiled environment.
David T. Hanson: Colstrip, Montana
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David T. Hanson's photographs of the coal-mining town of Colstrip, Montana, and the ruined landscape around it were exhibited by John Szarkowski at the Museum of Modern Art in New York in 1986. The work signaled a shift in American landscape photography, away from the cool modernism of the New Topographics. For this publication, Hanson has added 21 images and re-sequenced the series. Although the photographs were made in the early 1980s, they are perhaps even more relevant today, given growing concerns about energy production, environmental degradation and climate change. The pictures remain tragic reflections of a despoiled environment.
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Publication:
novembre 2010
novembre 2010
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Monographies photo
Monographies photo
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Swiss photographer Claudio Moser (born 1959) wanders the peripheries of cities and towns for hours - sometimes to the point of exhaustion - in search of the perfect image. Further distending his process, the artist often lets years pass after developing his film before viewing the images. Only then does he produce large-scale prints, revealing atmospherically dense(...)
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Swiss photographer Claudio Moser (born 1959) wanders the peripheries of cities and towns for hours - sometimes to the point of exhaustion - in search of the perfect image. Further distending his process, the artist often lets years pass after developing his film before viewing the images. Only then does he produce large-scale prints, revealing atmospherically dense(...)
Titre:
Claudio Moser : nowhere near far enough
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Swiss photographer Claudio Moser (born 1959) wanders the peripheries of cities and towns for hours - sometimes to the point of exhaustion - in search of the perfect image. Further distending his process, the artist often lets years pass after developing his film before viewing the images. Only then does he produce large-scale prints, revealing atmospherically dense photographs of industrial wasteland and "non-places."
Claudio Moser : nowhere near far enough
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Swiss photographer Claudio Moser (born 1959) wanders the peripheries of cities and towns for hours - sometimes to the point of exhaustion - in search of the perfect image. Further distending his process, the artist often lets years pass after developing his film before viewing the images. Only then does he produce large-scale prints, revealing atmospherically dense photographs of industrial wasteland and "non-places."
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Publication:
février 2011
février 2011
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Monographies photo
Monographies photo
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livres
Titre:
Grid-Portraits
Grid-Portraits
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In the mid-1980s, Stu Levy began making “grid-portraits” in order to overcome his his frustration with traditional portraiture’s limited point of view. These constructs of photographs, consisting of twelve to twenty-five individual images, scan the architecture and flow of time in a subject’s living or working environment. The resulting portraits, usually of artists,(...)
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In the mid-1980s, Stu Levy began making “grid-portraits” in order to overcome his his frustration with traditional portraiture’s limited point of view. These constructs of photographs, consisting of twelve to twenty-five individual images, scan the architecture and flow of time in a subject’s living or working environment. The resulting portraits, usually of artists,(...)
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Monographies photo
Monographies photo
Publication:
octobre 2010
octobre 2010
Titre:
Grid-Portraits
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In the mid-1980s, Stu Levy began making “grid-portraits” in order to overcome his his frustration with traditional portraiture’s limited point of view. These constructs of photographs, consisting of twelve to twenty-five individual images, scan the architecture and flow of time in a subject’s living or working environment. The resulting portraits, usually of artists, craftspeople and musicians, are made in the subjects’ studios or living spaces and serve as a backstage tour of the artist’s mind and creative process. Levy is fascinated by the artifacts that fill these spaces – the possessions by which the subjects are themselves possessed. Rather than confining himself to a single “decisive” moment, Levy explore its antithesis, a maze of scrambled time. These are made with a view camera using 4 x 5-inch negatives to allow for precision of detail. The sections are printed together to form the illusion of glancing through a window at a “snapshot” of an event, which in reality might consist of fragmentary views made months apart and in totally separate rooms or environments.
Grid-Portraits
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In the mid-1980s, Stu Levy began making “grid-portraits” in order to overcome his his frustration with traditional portraiture’s limited point of view. These constructs of photographs, consisting of twelve to twenty-five individual images, scan the architecture and flow of time in a subject’s living or working environment. The resulting portraits, usually of artists, craftspeople and musicians, are made in the subjects’ studios or living spaces and serve as a backstage tour of the artist’s mind and creative process. Levy is fascinated by the artifacts that fill these spaces – the possessions by which the subjects are themselves possessed. Rather than confining himself to a single “decisive” moment, Levy explore its antithesis, a maze of scrambled time. These are made with a view camera using 4 x 5-inch negatives to allow for precision of detail. The sections are printed together to form the illusion of glancing through a window at a “snapshot” of an event, which in reality might consist of fragmentary views made months apart and in totally separate rooms or environments.
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Publication:
octobre 2010
octobre 2010
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Monographies photo
Monographies photo
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livres
Titre:
The south
The south
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Dominique Bollinger à travers ses photos du Sud de l'Italie (les Pouilles et la Sicile) nous plonge dans un monde intemporel où le temps semble ne plus exister Ici règne le silence. la quiétude. le bonheur simple de la vie sans artifices loin de la frivolité et de la frénésie...Olivier Nouvellet
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Dominique Bollinger à travers ses photos du Sud de l'Italie (les Pouilles et la Sicile) nous plonge dans un monde intemporel où le temps semble ne plus exister Ici règne le silence. la quiétude. le bonheur simple de la vie sans artifices loin de la frivolité et de la frénésie...Olivier Nouvellet
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The south
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Dominique Bollinger à travers ses photos du Sud de l'Italie (les Pouilles et la Sicile) nous plonge dans un monde intemporel où le temps semble ne plus exister Ici règne le silence. la quiétude. le bonheur simple de la vie sans artifices loin de la frivolité et de la frénésie...Olivier Nouvellet
The south
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Dominique Bollinger à travers ses photos du Sud de l'Italie (les Pouilles et la Sicile) nous plonge dans un monde intemporel où le temps semble ne plus exister Ici règne le silence. la quiétude. le bonheur simple de la vie sans artifices loin de la frivolité et de la frénésie...Olivier Nouvellet
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Publication:
novembre 2010
novembre 2010
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Monographies photo
Monographies photo
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Au cours de cinq voyages à Volgograd entre 2008 et 2010, Maurice Schobinger a réalisé un témoignage photographique poignant de la ville martyre. Ces images sont classées en quatre chapitres : Portraits et témoins, Mémoire d'une ville, Octobre Rouge, Transports, portraits et décors. L'ouvrage est enrichi par la publication intégrale du journal de Serafima Fedorovna(...)
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Au cours de cinq voyages à Volgograd entre 2008 et 2010, Maurice Schobinger a réalisé un témoignage photographique poignant de la ville martyre. Ces images sont classées en quatre chapitres : Portraits et témoins, Mémoire d'une ville, Octobre Rouge, Transports, portraits et décors. L'ouvrage est enrichi par la publication intégrale du journal de Serafima Fedorovna(...)
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Monographies photo
Monographies photo
Publication:
novembre 2010
novembre 2010
Titre:
Maurice Schobinger: Stalingrag/Volgograd
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Au cours de cinq voyages à Volgograd entre 2008 et 2010, Maurice Schobinger a réalisé un témoignage photographique poignant de la ville martyre. Ces images sont classées en quatre chapitres : Portraits et témoins, Mémoire d'une ville, Octobre Rouge, Transports, portraits et décors. L'ouvrage est enrichi par la publication intégrale du journal de Serafima Fedorovna Voronina, tenu entre le 10 septembre 1942 et le 25 octobre de la même année. La voix d'une maîtresse d'école, simple civile prise au piège de la guerre. Une voix qui finira étouffée sous les bombardements. L'ensemble forme un subtil mélange entre hommage, mémoire et renaissance d'une ville.
Maurice Schobinger: Stalingrag/Volgograd
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Au cours de cinq voyages à Volgograd entre 2008 et 2010, Maurice Schobinger a réalisé un témoignage photographique poignant de la ville martyre. Ces images sont classées en quatre chapitres : Portraits et témoins, Mémoire d'une ville, Octobre Rouge, Transports, portraits et décors. L'ouvrage est enrichi par la publication intégrale du journal de Serafima Fedorovna Voronina, tenu entre le 10 septembre 1942 et le 25 octobre de la même année. La voix d'une maîtresse d'école, simple civile prise au piège de la guerre. Une voix qui finira étouffée sous les bombardements. L'ensemble forme un subtil mélange entre hommage, mémoire et renaissance d'une ville.
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livres
livres
Publication:
novembre 2010
novembre 2010
Sujet:
Monographies photo
Monographies photo
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livres
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$42.95
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This publication is a photographic essay that takes us through spaces of international airports, or more specifically, the spaces of these airports that are classified as “transit areas,” that is in between states and nations, although within them. Whereas a border is generally conceived of as a line between two territories, and not as a space in itself, the transit area(...)
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Résumé:
This publication is a photographic essay that takes us through spaces of international airports, or more specifically, the spaces of these airports that are classified as “transit areas,” that is in between states and nations, although within them. Whereas a border is generally conceived of as a line between two territories, and not as a space in itself, the transit area(...)
Titre:
Andrea Geyer: meaning is what hides the instability of one's position
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This publication is a photographic essay that takes us through spaces of international airports, or more specifically, the spaces of these airports that are classified as “transit areas,” that is in between states and nations, although within them. Whereas a border is generally conceived of as a line between two territories, and not as a space in itself, the transit area is exactly such a space. In Geyer and Sander's passage through these areas, they investigate how these spaces, on the one hand, constitute and differentiate between territories, and on the other hand, spatialize the gap through a gestural, architectural, and linguistic vocabulary of hallways, doors, lines, checks, instructions, processes of identification, recognition, and namings that all lead to denied or granted passage. As the question of passage is central for the notion of a border, the book is conceived as a flip book: a number of still-images which, when flipped, gives the illusion of movement.
Andrea Geyer: meaning is what hides the instability of one's position
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This publication is a photographic essay that takes us through spaces of international airports, or more specifically, the spaces of these airports that are classified as “transit areas,” that is in between states and nations, although within them. Whereas a border is generally conceived of as a line between two territories, and not as a space in itself, the transit area is exactly such a space. In Geyer and Sander's passage through these areas, they investigate how these spaces, on the one hand, constitute and differentiate between territories, and on the other hand, spatialize the gap through a gestural, architectural, and linguistic vocabulary of hallways, doors, lines, checks, instructions, processes of identification, recognition, and namings that all lead to denied or granted passage. As the question of passage is central for the notion of a border, the book is conceived as a flip book: a number of still-images which, when flipped, gives the illusion of movement.
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livres
livres
Publication:
novembre 2010
novembre 2010
Sujet:
Monographies photo
Monographies photo
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livres
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During the 1960s and 70s, thousands of monuments commemorating the Second World War – called 'Spomeniks' – were built throughout the former Yugoslavia; striking monumental sculptures, with an angular geometry echoing the shapes of flowers, crystals, and macro-views of viruses or DNA. In the 1980s the Spomeniks still attracted millions of visitors from the Eastern bloc;(...)
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During the 1960s and 70s, thousands of monuments commemorating the Second World War – called 'Spomeniks' – were built throughout the former Yugoslavia; striking monumental sculptures, with an angular geometry echoing the shapes of flowers, crystals, and macro-views of viruses or DNA. In the 1980s the Spomeniks still attracted millions of visitors from the Eastern bloc;(...)
Titre:
Spomenik #1 - 26. Jan Kempenaers
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During the 1960s and 70s, thousands of monuments commemorating the Second World War – called 'Spomeniks' – were built throughout the former Yugoslavia; striking monumental sculptures, with an angular geometry echoing the shapes of flowers, crystals, and macro-views of viruses or DNA. In the 1980s the Spomeniks still attracted millions of visitors from the Eastern bloc; today they are largely neglected and unknown, their symbolism lost and unwanted. Antwerp-based photographer Jan Kempenaers travelled the Balkans photographing these eerie objects, presented in this book as a powerful typological series. The beauty and mystery of the isolated, crumbling Spomeniks informs Kempenaer's enquiry into memory, found beauty, and whether former monuments can function as pure sculpture.
Spomenik #1 - 26. Jan Kempenaers
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During the 1960s and 70s, thousands of monuments commemorating the Second World War – called 'Spomeniks' – were built throughout the former Yugoslavia; striking monumental sculptures, with an angular geometry echoing the shapes of flowers, crystals, and macro-views of viruses or DNA. In the 1980s the Spomeniks still attracted millions of visitors from the Eastern bloc; today they are largely neglected and unknown, their symbolism lost and unwanted. Antwerp-based photographer Jan Kempenaers travelled the Balkans photographing these eerie objects, presented in this book as a powerful typological series. The beauty and mystery of the isolated, crumbling Spomeniks informs Kempenaer's enquiry into memory, found beauty, and whether former monuments can function as pure sculpture.
Classification:
livres
livres
Publication:
novembre 2010
novembre 2010
Sujet:
Monographies photo
Monographies photo
