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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
Monographies photo
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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
Monographies photo
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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.
Monographies photo
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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
Monographies photo
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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.
Monographies photo
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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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This book brings together, for the first time, the entire Private Scenes photographic series in which we discover a new dimension of the work of Masahisa Fukase, that of the artist struggling with his medium. This singular corpus is made up of images in which the artist inserts himself. The series is made up of two sets: Letters from Journeys which presents photographs(...)
Masahisa Fukase : Private scenes
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This book brings together, for the first time, the entire Private Scenes photographic series in which we discover a new dimension of the work of Masahisa Fukase, that of the artist struggling with his medium. This singular corpus is made up of images in which the artist inserts himself. The series is made up of two sets: Letters from Journeys which presents photographs taken in 1989 in different cities around the world (Paris, London, Brussels, Antwerp, etc.), and Private Scenes '92 which focuses on his daily life in Tokyo, where now each print is enhanced with color paints, thus becoming a unique work. This final series bears witness to Fukase's questions about his own practice of photography at the end of his life, and the place of the photographer in his work, when subject and object overlap, also evoking the current practice of the selfie.
Monographies photo
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The catalogue of the retrospective of the Berlin-based photographer Michael Schmidt presents the development of the artistic process of his work. Numerous images of working material as work prints or book dummies as well as archival material as invitation cards, posters and exhibition views give further information about the work of Michael Schmidt on his book and(...)
Michael Schmidt: Photographies 1965-2014
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The catalogue of the retrospective of the Berlin-based photographer Michael Schmidt presents the development of the artistic process of his work. Numerous images of working material as work prints or book dummies as well as archival material as invitation cards, posters and exhibition views give further information about the work of Michael Schmidt on his book and exhibition projects. The essays of Ute Eskildsen, Janos Frecot, Peter Galassi, Heinz Liesbrock and Thomas Weski are texts of curators, who worked closely with the artist on various projects during his lifetime. This book is the first survey publication which shows the complete work of Michael Schmidt.
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Ari Marcopoulos: Upstream
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This artist’s book accompanies Ari Marcopoulos’s exhibition at Kunst Halle Sankt Gallen. To create the book, Marcopoulos re-photographed prints of his photographs that he had produced at home using a pigment printer. This process was in many ways a continuation of the period of pandemic isolation in which most of the images were photographed. Closely aligned with his own(...)
Ari Marcopoulos: Upstream
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This artist’s book accompanies Ari Marcopoulos’s exhibition at Kunst Halle Sankt Gallen. To create the book, Marcopoulos re-photographed prints of his photographs that he had produced at home using a pigment printer. This process was in many ways a continuation of the period of pandemic isolation in which most of the images were photographed. Closely aligned with his own copious output, the selection is both haphazard and intuitive, leaving room for spontaneity and even mistakes. A portion of the book also focuses on the 2021 video installation ‘Alone Together’, featuring a saxophone performance by jazz legend Joe McPhee, which forms a central part of the exhibition.
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Avec ce quatrième volet de l’Atlas des Régions Naturelles, Éric Tabuchi et Nelly Monnier poursuivent leur projet au long cours engagé en 2017 : la documentation globale des 450 régions naturelles — ou « pays » — qui composent le territoire français. Une aventure photographique hors normes destinée à se déployer sur plusieurs années, au rythme d’une publication par(...)
ARN vol.4 : Atlas des Régions Naturelles
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Avec ce quatrième volet de l’Atlas des Régions Naturelles, Éric Tabuchi et Nelly Monnier poursuivent leur projet au long cours engagé en 2017 : la documentation globale des 450 régions naturelles — ou « pays » — qui composent le territoire français. Une aventure photographique hors normes destinée à se déployer sur plusieurs années, au rythme d’une publication par semestre. En sillonnant ces petites entités géographiques et culturelles parfois tombées en désuétude face au découpage administratif de l’Hexagone, le duo collecte les éléments visuels de ce qui fonde une région. Ils associent indifféremment les particularismes impulsés par l’homme — architectures traditionnelles, toponymes, esthétiques locales, traces de l’histoire — et les motifs naturels, tels que reliefs, paysages, couleurs, végétation, etc.
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