2453 Résultats
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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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livres
livres
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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livres
livres
Publication:
février 2011
février 2011
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Monographies photo
Monographies photo
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livres
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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livres
livres
Publication:
octobre 2010
octobre 2010
Sujet:
Monographies photo
Monographies photo
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livres
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
Titre:
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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livres
livres
Publication:
novembre 2010
novembre 2010
Sujet:
Monographies photo
Monographies photo
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livres
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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
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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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
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.
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livres
livres
Publication:
novembre 2010
novembre 2010
Sujet:
Monographies photo
Monographies photo
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livres
livres
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$25.00
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The precision of the camera lens shows images of a city – one of the most populated metropolitan areas in the world – expanding and thinning away to incorporate the surrounding hillsides. An ever-present mist, the steep outline of the horizon and the light that evaporates from the illuminated roads create a backdrop for the city’s architectural landscape: the anonymous(...)
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The precision of the camera lens shows images of a city – one of the most populated metropolitan areas in the world – expanding and thinning away to incorporate the surrounding hillsides. An ever-present mist, the steep outline of the horizon and the light that evaporates from the illuminated roads create a backdrop for the city’s architectural landscape: the anonymous(...)
Titre:
Gabriele Basilico : Istanbul 05 010
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The precision of the camera lens shows images of a city – one of the most populated metropolitan areas in the world – expanding and thinning away to incorporate the surrounding hillsides. An ever-present mist, the steep outline of the horizon and the light that evaporates from the illuminated roads create a backdrop for the city’s architectural landscape: the anonymous verticality of new tower blocks and the overcrowded horizontal lines of never ending suburbs. This book is published on the occasion of the exhibition of Gabriele Basilico, Istanbul 05 010, and includes a text by Luca Doninelli.
Gabriele Basilico : Istanbul 05 010
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The precision of the camera lens shows images of a city – one of the most populated metropolitan areas in the world – expanding and thinning away to incorporate the surrounding hillsides. An ever-present mist, the steep outline of the horizon and the light that evaporates from the illuminated roads create a backdrop for the city’s architectural landscape: the anonymous verticality of new tower blocks and the overcrowded horizontal lines of never ending suburbs. This book is published on the occasion of the exhibition of Gabriele Basilico, Istanbul 05 010, and includes a text by Luca Doninelli.
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livres
livres
Publication:
septembre 2010
septembre 2010
Sujet:
Monographies photo
Monographies photo
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livres
livres
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Avec ces 480 clichés en couleur, dont 200 sont inédits, Raymond Depardon a photographié la vraie France, la France qu’on ne regarde plus. Quelle est la relation de l’homme à son espace de vie ? C’est ce que Raymond Depardon désire comprendre et fixer sur la pellicule. Voyageant à bord d’un fourgon aménagé, il guette les traces de l’homme sur le territoire, à l’aide d’une(...)
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Avec ces 480 clichés en couleur, dont 200 sont inédits, Raymond Depardon a photographié la vraie France, la France qu’on ne regarde plus. Quelle est la relation de l’homme à son espace de vie ? C’est ce que Raymond Depardon désire comprendre et fixer sur la pellicule. Voyageant à bord d’un fourgon aménagé, il guette les traces de l’homme sur le territoire, à l’aide d’une(...)
Titre:
La France de Raymond Depardon
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Avec ces 480 clichés en couleur, dont 200 sont inédits, Raymond Depardon a photographié la vraie France, la France qu’on ne regarde plus. Quelle est la relation de l’homme à son espace de vie ? C’est ce que Raymond Depardon désire comprendre et fixer sur la pellicule. Voyageant à bord d’un fourgon aménagé, il guette les traces de l’homme sur le territoire, à l’aide d’une chambre photographique posée sur un pied. La France de Depardon, c'est cette France ordinaire, entre rural et urbain. C’est la France réelle. Sommes-nous réels ?
La France de Raymond Depardon
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Avec ces 480 clichés en couleur, dont 200 sont inédits, Raymond Depardon a photographié la vraie France, la France qu’on ne regarde plus. Quelle est la relation de l’homme à son espace de vie ? C’est ce que Raymond Depardon désire comprendre et fixer sur la pellicule. Voyageant à bord d’un fourgon aménagé, il guette les traces de l’homme sur le territoire, à l’aide d’une chambre photographique posée sur un pied. La France de Depardon, c'est cette France ordinaire, entre rural et urbain. C’est la France réelle. Sommes-nous réels ?
Classification:
livres
livres
Publication:
novembre 2012
novembre 2012
Sujet:
Monographies photo
Monographies photo
Classification:
livres
livres
Titre:
Paul Graham : 1981-2011
Paul Graham : 1981-2011
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In 2011 Paul Graham released The Present, which embraces street photography, a genre unique to photography where the artist works with the ceaseless flow of life. These images break with the traditional approach of locking the world into frozen instants and instead brings us each scene together with its double, the briefest fraction of time apart, so that we glimpse the(...)
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In 2011 Paul Graham released The Present, which embraces street photography, a genre unique to photography where the artist works with the ceaseless flow of life. These images break with the traditional approach of locking the world into frozen instants and instead brings us each scene together with its double, the briefest fraction of time apart, so that we glimpse the(...)
Titre:
Paul Graham : 1981-2011
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In 2011 Paul Graham released The Present, which embraces street photography, a genre unique to photography where the artist works with the ceaseless flow of life. These images break with the traditional approach of locking the world into frozen instants and instead brings us each scene together with its double, the briefest fraction of time apart, so that we glimpse the continuum, the before/after and coming/ going of life's dazzling dance. Designed by Paul Graham and MACK, printed in colour throughout, 1981 & 2011 aligns these two bodies of Graham's work across the 3 decades spanning his career. With David Campany's incisive essay, we can piece together and explore the concerns that link and bind an artist over the years making this a salient book on the passage of creativity in the observable world.
Paul Graham : 1981-2011
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In 2011 Paul Graham released The Present, which embraces street photography, a genre unique to photography where the artist works with the ceaseless flow of life. These images break with the traditional approach of locking the world into frozen instants and instead brings us each scene together with its double, the briefest fraction of time apart, so that we glimpse the continuum, the before/after and coming/ going of life's dazzling dance. Designed by Paul Graham and MACK, printed in colour throughout, 1981 & 2011 aligns these two bodies of Graham's work across the 3 decades spanning his career. With David Campany's incisive essay, we can piece together and explore the concerns that link and bind an artist over the years making this a salient book on the passage of creativity in the observable world.
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livres
livres
Publication:
décembre 2012
décembre 2012
Sujet:
Monographies photo
Monographies photo
