Maxime Delvaux: Châteai de Chambord, Dilmun burial Mounds, Joze Plecnik, Rio Tinto, Victora Horta
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The story of this book was built over time, through the many exchanges that took place between a photographer, the editors, graphic designers and authors. The publication is structured around five photographic series, each devoted to a particular building, site or architect: Château de Chambord in France, Dilmun Burial Mounds in Bahrain, Joze Plecnik’s buildings in and(...)
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juillet 2023
Maxime Delvaux: Châteai de Chambord, Dilmun burial Mounds, Joze Plecnik, Rio Tinto, Victora Horta
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The story of this book was built over time, through the many exchanges that took place between a photographer, the editors, graphic designers and authors. The publication is structured around five photographic series, each devoted to a particular building, site or architect: Château de Chambord in France, Dilmun Burial Mounds in Bahrain, Joze Plecnik’s buildings in and around Ljubljana, Rio Tinto in Spain, and Victor Horta’s Centre for Fine Arts in Brussels. It is, especially, a book of (hi)stories in which the series by Maxime Delvaux are accompanied by texts. For these, various authors have been invited to react to the images with the idea of experimenting with the text: fiction, historical essay, round-table discussion, scientific text and photonovel. Graphic designers played with text and images to give them form. The reader is in turn invited to create possible alliances between images and texts. Like Maxime Delvaux’s photographic approach, these texts and their articulation with the photographs are specific to each subject, illustrating five ways of showing and telling about places near and far.
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Being visual climate thermometers, glaciers are usually portrayed and talked about from that perspective. But Swiss photographer Julian Stetler looks at glaciers as living beings and active protagonists. Born out of the permanent metamorphosis from snow to ice, they are uniquely dynamic. From the human perspective, we can only ever perceive slices of them; they exist in a(...)
Julian Stettler: The glacier is a being
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Being visual climate thermometers, glaciers are usually portrayed and talked about from that perspective. But Swiss photographer Julian Stetler looks at glaciers as living beings and active protagonists. Born out of the permanent metamorphosis from snow to ice, they are uniquely dynamic. From the human perspective, we can only ever perceive slices of them; they exist in a different timescale, beyond our grasp. This book examines the many ways of glacial expression, the diverse shapes and colours they assume, and how they influence and mingle with their surroundings. With a poem by Daniela Molnar, plus contributions by a journalist, a landscape architect, and a microbiologist.
Issei Suda: Holy night
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"Holy night" presents photographs that Issei Suda took on the night of Christmas Eve 1991 in Tokyo. "I wonder how many Japanese people actually think of Jesus Christ on Christmas. We just observe Christmas Eve by buying cake and bringing it home to eat; lovers spend it together as the most romantic night of the year. These kinds of customs have become the norm. I could(...)
Issei Suda: Holy night
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"Holy night" presents photographs that Issei Suda took on the night of Christmas Eve 1991 in Tokyo. "I wonder how many Japanese people actually think of Jesus Christ on Christmas. We just observe Christmas Eve by buying cake and bringing it home to eat; lovers spend it together as the most romantic night of the year. These kinds of customs have become the norm. I could suddenly play the part of the righteous Buddhist and call everyone out on it – You dumbasses, you aren’t even Christians – but it feels like it’d be a waste." — Issei Suda
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This latest publications by Café Royal Books presents the work of photographer Keith Nolan. This series shows his photographs of Dublin City and the surrounding suburbs and county in the 1970s.
Keith Nolan: Dublin City, suburbs & county 1970s
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This latest publications by Café Royal Books presents the work of photographer Keith Nolan. This series shows his photographs of Dublin City and the surrounding suburbs and county in the 1970s.
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A hugely respected figure in Scottish photography, Douglas Corrance has spent the last six decades training his lens on interesting subjects here in Scotland and around the globe. Throughout the 1970s and 1980s, Douglas was a budding photographer who loved wandering the streets of Edinburgh in search of sights to document, This latest title, Douglas' fourth with Café(...)
Douglas Corrance : Edinburgh 1970s - 1980s
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A hugely respected figure in Scottish photography, Douglas Corrance has spent the last six decades training his lens on interesting subjects here in Scotland and around the globe. Throughout the 1970s and 1980s, Douglas was a budding photographer who loved wandering the streets of Edinburgh in search of sights to document, This latest title, Douglas' fourth with Café Royal Books, takes us on a nostalgic trip back to the capital as it was in the days when milk deliveries were still hauled by horses and carefree children were forever out playing on the pavements. Across the 38 images contained in the photozine we're treated to the sight of ordinary scenes that have become extraordinary with the passing of the decades.
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Sanuel Hoppe: NIVAL
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"NIVAL" is a collection of photographs taken by Samuel Hoppe between 2019 and 2023 in the French Alps, the Pyrenees, and the Jotunheimen (Norway). Photographed in the higher elevations of these different mountain ranges, the subjects are stark and desolate, at once forbidding, alien, and sublime. The sweeping, panoramic vistas of peaks, snowy landscapes, and rock-strewn(...)
Sanuel Hoppe: NIVAL
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"NIVAL" is a collection of photographs taken by Samuel Hoppe between 2019 and 2023 in the French Alps, the Pyrenees, and the Jotunheimen (Norway). Photographed in the higher elevations of these different mountain ranges, the subjects are stark and desolate, at once forbidding, alien, and sublime. The sweeping, panoramic vistas of peaks, snowy landscapes, and rock-strewn slopes fill page after page, a formidable portrait of the grandiose power and limitless scale of geological time. With graphic design by Julien Hourcade.
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Joel Sternfeld: Nags Head
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In the summer of 1975, facing surgery with the potential of paralysis, a young Joel Sternfeld went off in search of a last idyll-- and found it in Nags Head, on North Carolina’s Outer Banks. From June to August he captured the beach town floating in time, a sense of spatial and temporal fluidity. Sternfeld’s images show beachgoers of all ages enjoying scenes of leisure(...)
Joel Sternfeld: Nags Head
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In the summer of 1975, facing surgery with the potential of paralysis, a young Joel Sternfeld went off in search of a last idyll-- and found it in Nags Head, on North Carolina’s Outer Banks. From June to August he captured the beach town floating in time, a sense of spatial and temporal fluidity. Sternfeld’s images show beachgoers of all ages enjoying scenes of leisure and partying in what became his first body of work addressing a season. Yet this summer sojourn was tragically broken by the news of the death of his brother; Sternfeld returned to New York, never to go back to Nags Head. Eventually he began working again and one day ventured to Rockaway Beach, Queens. Here he took a picture in which "all at once the ugly scene appeared beautiful to me": the hues of sand, apartments and sky fuse into a cohesive whole. This photo, with its conceptual roots in Nags Head, would lead to the color structures of Sternfeld’s magnum opus American Prospects, his ambitious realization of what he had always wanted to do: follow the seasons across America.
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Penny Slinger is a Los Angeles–based artist whose work investigates the feminine, the magical and the erotic. While studying at Chelsea College of Art in the late 1960s, Slinger encountered Max Ernst’s Une semaine de bonté (1934), initiating an enduring involvement with both the Surrealist movement and the medium of collage. In her first publication, "50% The Visible(...)
Penny Slinger: An exorcism. A photo romance
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Penny Slinger is a Los Angeles–based artist whose work investigates the feminine, the magical and the erotic. While studying at Chelsea College of Art in the late 1960s, Slinger encountered Max Ernst’s Une semaine de bonté (1934), initiating an enduring involvement with both the Surrealist movement and the medium of collage. In her first publication, "50% The Visible Woman" (1971), Slinger explored the image of woman through a series of often provocative photomontage self-portraits and poetic texts. Such themes resonated keenly with the emerging feminist movement, and in 1973 Rolling Stone noted: "this book will become as important on your bookshelf as Sgt. Pepper’s is on your record rack." With "An exorcism: A photo romance", Slinger explores the feminine psyche further. Developed from a visit to Lilford Hall in 1970 with her then-partner, the filmmaker Peter Whitehead, Slinger provides us with a series of haunting images that chart a process of self-discovery and awakening that was described by Sheldon Williams as "a cascade of photo-collage imagery which has all the emergent trepidation of Hesse’s Steppenwolf."
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Jeff Wall
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Since the late 1970s, Canadian photographer Jeff Wall has made significant contributions to establishing photography as an autonomous medium. He is considered the founder of "staged" photography and generates mostly large-format photographs—often inspired by literature, film and art history—composed in a multilayered and subtle way from a multitude of individual shots.(...)
Jeff Wall
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Since the late 1970s, Canadian photographer Jeff Wall has made significant contributions to establishing photography as an autonomous medium. He is considered the founder of "staged" photography and generates mostly large-format photographs—often inspired by literature, film and art history—composed in a multilayered and subtle way from a multitude of individual shots. Wall makes a distinction between his documentary still life photos and his "cinematographic" pictures, the latter of which take months or even years to complete. His contemporary genre scenes invoke famous works by Hokusai, Manet, Kafka, Ellison and others.Among the more than 50 works collected in the catalog of the large-scale solo exhibition at the Fondation Beyeler are Wall’s iconic large-format slides in light boxes, black-and-white photographs and color photographic prints. His most recent images, representing the entire spectrum of his oeuvre, enter into a dialogue with works from the time of Wall’s beginnings as an artist and reveal a wide range of references in terms of content and form.
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Marking the first museum exhibition devoted solely to the photographs of Ellsworth Kelly, this volume features each photograph in the Santa Barbara Museum of Art’s illuminating presentation of this lesser-known aspect of Kelly’s art. From the late 1940s on, Kelly created an era-defining body of abstract art based on many kinds of visual phenomena he perceived around him.(...)
Shape, ground, shadow: The photographs of Ellsworth Kelly
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Marking the first museum exhibition devoted solely to the photographs of Ellsworth Kelly, this volume features each photograph in the Santa Barbara Museum of Art’s illuminating presentation of this lesser-known aspect of Kelly’s art. From the late 1940s on, Kelly created an era-defining body of abstract art based on many kinds of visual phenomena he perceived around him. Largely made for himself, Kelly’s photographs record these discoveries in tightly-composed images of nature and architecture that often reverberate with striking sunlight and shadow. Similar as they may appear, Kelly did not base his paintings, sculpture and works on paper on his photographs. The camera for Kelly was yet one more artistic tool he used to brilliantly transcribe his lived surroundings into an art that, however abstract, always resonated with his subjective experiences of actual, everyday worlds. Kelly’s rich sensory fascination with such worlds, from shadows on a beachside staircase to the curve of a snowy hillside, courses throughout this handsome book. To those familiar with or new to the artist, these photographs offer a vividly direct chance to see Ellsworth Kelly’s eye and mind at work unlike any other genre in which this groundbreaking artist ever worked.
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