32 Résultats
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This book presents works by a number of major Italian photographers who have explored aspects of their native land that are rarely depicted elsewhere. The photographs range from social documentary works of the 1950s to the conceptual photography of the 1970s, more personal explorations and travelogues of the 1980s and contemporary photographic remappings of Italian(...)
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This book presents works by a number of major Italian photographers who have explored aspects of their native land that are rarely depicted elsewhere. The photographs range from social documentary works of the 1950s to the conceptual photography of the 1970s, more personal explorations and travelogues of the 1980s and contemporary photographic remappings of Italian(...)
Titre:
Peripheral visions : italian photography in context, 1950's - present
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This book presents works by a number of major Italian photographers who have explored aspects of their native land that are rarely depicted elsewhere. The photographs range from social documentary works of the 1950s to the conceptual photography of the 1970s, more personal explorations and travelogues of the 1980s and contemporary photographic remappings of Italian cities. This thematic interpretation conveys the incredibly vital and diverse range of expressions that have unfolded in Italian photography over the past five decades. Published for a 2012 exhibition at Hunter College, The City University of New York, Peripheral Visions includes works by Marina Ballo Charmet, Olivo Barbieri, Gabriele Basilico, Gianni Berengo Gardin, Mario Carrieri, Vincenzo Castella, Cesare Colombo, Mario Cresci, Paola Di Bello, Luigi Ghirri, Guido Guidi, Alessandro Imbriaco, Francesco Jodice, Mimmo Jodice, Armin Linke, Maurizio Montagna, Paolo Monti, Ugo Mulas, Walter Niedermayr, Franco Vaccari and Massimo Vitali.
Peripheral visions : italian photography in context, 1950's - present
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This book presents works by a number of major Italian photographers who have explored aspects of their native land that are rarely depicted elsewhere. The photographs range from social documentary works of the 1950s to the conceptual photography of the 1970s, more personal explorations and travelogues of the 1980s and contemporary photographic remappings of Italian cities. This thematic interpretation conveys the incredibly vital and diverse range of expressions that have unfolded in Italian photography over the past five decades. Published for a 2012 exhibition at Hunter College, The City University of New York, Peripheral Visions includes works by Marina Ballo Charmet, Olivo Barbieri, Gabriele Basilico, Gianni Berengo Gardin, Mario Carrieri, Vincenzo Castella, Cesare Colombo, Mario Cresci, Paola Di Bello, Luigi Ghirri, Guido Guidi, Alessandro Imbriaco, Francesco Jodice, Mimmo Jodice, Armin Linke, Maurizio Montagna, Paolo Monti, Ugo Mulas, Walter Niedermayr, Franco Vaccari and Massimo Vitali.
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livres
livres
Publication:
mai 2012
mai 2012
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livres
livres
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The bulk of the book is devoted to more than 60 examples of architecture and interior design, presented through photography, accompanied by short building descriptions and comments on the images, and concluded with an illustrated introduction to key architects, photographers, and cityscapes from 1930s Budapest. This bilingual edition includes English and Hungarian.
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The bulk of the book is devoted to more than 60 examples of architecture and interior design, presented through photography, accompanied by short building descriptions and comments on the images, and concluded with an illustrated introduction to key architects, photographers, and cityscapes from 1930s Budapest. This bilingual edition includes English and Hungarian.
Publication:
janvier 2011
janvier 2011
Titre:
Light and form: modern architecture and photography 1927-1950
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The bulk of the book is devoted to more than 60 examples of architecture and interior design, presented through photography, accompanied by short building descriptions and comments on the images, and concluded with an illustrated introduction to key architects, photographers, and cityscapes from 1930s Budapest. This bilingual edition includes English and Hungarian.
Light and form: modern architecture and photography 1927-1950
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The bulk of the book is devoted to more than 60 examples of architecture and interior design, presented through photography, accompanied by short building descriptions and comments on the images, and concluded with an illustrated introduction to key architects, photographers, and cityscapes from 1930s Budapest. This bilingual edition includes English and Hungarian.
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livres
livres
Publication:
janvier 2011
janvier 2011
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nconnus des surréalistes, ces photomontages ont été oubliés quand sont revenus à la mode le surréalisme, la photographie et la carte postale ancienne. Produites entre 1908 et 1913 pour la plupart d'entres elles, ces cartes tant par leur imaginaire fantastique que par leur haute technicité méritent largement d'entrer dans l'histoire de la photographie. Les tall-tale(...)
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nconnus des surréalistes, ces photomontages ont été oubliés quand sont revenus à la mode le surréalisme, la photographie et la carte postale ancienne. Produites entre 1908 et 1913 pour la plupart d'entres elles, ces cartes tant par leur imaginaire fantastique que par leur haute technicité méritent largement d'entrer dans l'histoire de la photographie. Les tall-tale(...)
Titre:
Photomontages improbables: Tall tale post cards américaines du début du XXe siècle
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nconnus des surréalistes, ces photomontages ont été oubliés quand sont revenus à la mode le surréalisme, la photographie et la carte postale ancienne. Produites entre 1908 et 1913 pour la plupart d'entres elles, ces cartes tant par leur imaginaire fantastique que par leur haute technicité méritent largement d'entrer dans l'histoire de la photographie. Les tall-tale postcards, car tel est leur nom, sont aussi de précieux documents de la "folk culture" du Middle West américain; un monde strictement rural où l'exagération inspire bien des légendes.
Photomontages improbables: Tall tale post cards américaines du début du XXe siècle
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nconnus des surréalistes, ces photomontages ont été oubliés quand sont revenus à la mode le surréalisme, la photographie et la carte postale ancienne. Produites entre 1908 et 1913 pour la plupart d'entres elles, ces cartes tant par leur imaginaire fantastique que par leur haute technicité méritent largement d'entrer dans l'histoire de la photographie. Les tall-tale postcards, car tel est leur nom, sont aussi de précieux documents de la "folk culture" du Middle West américain; un monde strictement rural où l'exagération inspire bien des légendes.
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livres
livres
Publication:
mai 2011
mai 2011
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livres
livres
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Buildings inhabit and symbolize time, giving form to history and making public space an index of the past. Photographs are made of time; they are literally projections of past states of their subjects. This visually striking meditation on architecture in photography explores the intersection between these two ways of embodying the past. Photographs of buildings, Joel(...)
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Résumé:
Buildings inhabit and symbolize time, giving form to history and making public space an index of the past. Photographs are made of time; they are literally projections of past states of their subjects. This visually striking meditation on architecture in photography explores the intersection between these two ways of embodying the past. Photographs of buildings, Joel(...)
Titre:
The life and death of buildings: on photography and time
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Buildings inhabit and symbolize time, giving form to history and making public space an index of the past. Photographs are made of time; they are literally projections of past states of their subjects. This visually striking meditation on architecture in photography explores the intersection between these two ways of embodying the past. Photographs of buildings, Joel Smith argues, are simultaneously the agents, vehicles, and cargo of social memory.
The life and death of buildings: on photography and time
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Buildings inhabit and symbolize time, giving form to history and making public space an index of the past. Photographs are made of time; they are literally projections of past states of their subjects. This visually striking meditation on architecture in photography explores the intersection between these two ways of embodying the past. Photographs of buildings, Joel Smith argues, are simultaneously the agents, vehicles, and cargo of social memory.
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livres
livres
Publication:
juin 2011
juin 2011
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livres
livres
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$63.95
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Photography played a critical role in conceptual art of the 1960s and 1970s, as artists turned to photography as both medium and subject matter. "Light Years" offers the first major survey of the key artists of this period who used photography to new and inventive ends. Whereas some employed photographic images to create slide projections, photographic canvases, and(...)
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Photography played a critical role in conceptual art of the 1960s and 1970s, as artists turned to photography as both medium and subject matter. "Light Years" offers the first major survey of the key artists of this period who used photography to new and inventive ends. Whereas some employed photographic images to create slide projections, photographic canvases, and(...)
Titre:
Light years: conceptual art and the photograph 1964-1977
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Photography played a critical role in conceptual art of the 1960s and 1970s, as artists turned to photography as both medium and subject matter. "Light Years" offers the first major survey of the key artists of this period who used photography to new and inventive ends. Whereas some employed photographic images to create slide projections, photographic canvases, and artists' books, others integrated them into sculptural assemblages and multimedia installations. This book highlights the work of acclaimed international artists such as Vito Acconci, John Baldessari, Mel Bochner, Sol LeWitt, Bruce Nauman, Giuseppe Penone, and Ed Ruscha.
Light years: conceptual art and the photograph 1964-1977
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Photography played a critical role in conceptual art of the 1960s and 1970s, as artists turned to photography as both medium and subject matter. "Light Years" offers the first major survey of the key artists of this period who used photography to new and inventive ends. Whereas some employed photographic images to create slide projections, photographic canvases, and artists' books, others integrated them into sculptural assemblages and multimedia installations. This book highlights the work of acclaimed international artists such as Vito Acconci, John Baldessari, Mel Bochner, Sol LeWitt, Bruce Nauman, Giuseppe Penone, and Ed Ruscha.
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livres
livres
Publication:
janvier 2012
janvier 2012
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American Modern explores the reinvention of documentary photography in the 1930s, focusing on the work of three iconic figures. It identifies the points where Abbott, Evans, and Bourke-White connected, diverged, and competed, and demonstrates how commercial and governmental commissions, the influence of mass media, the establishment of public institutions of modern art,(...)
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American Modern explores the reinvention of documentary photography in the 1930s, focusing on the work of three iconic figures. It identifies the points where Abbott, Evans, and Bourke-White connected, diverged, and competed, and demonstrates how commercial and governmental commissions, the influence of mass media, the establishment of public institutions of modern art,(...)
Publication:
octobre 2010
octobre 2010
Titre:
American Modern: Documentary photography by Abbott, Evans, and Bourke-White
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American Modern explores the reinvention of documentary photography in the 1930s, focusing on the work of three iconic figures. It identifies the points where Abbott, Evans, and Bourke-White connected, diverged, and competed, and demonstrates how commercial and governmental commissions, the influence of mass media, the establishment of public institutions of modern art, and international theories of photography all intersected to establish the now-dominant documentary style.
American Modern: Documentary photography by Abbott, Evans, and Bourke-White
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American Modern explores the reinvention of documentary photography in the 1930s, focusing on the work of three iconic figures. It identifies the points where Abbott, Evans, and Bourke-White connected, diverged, and competed, and demonstrates how commercial and governmental commissions, the influence of mass media, the establishment of public institutions of modern art, and international theories of photography all intersected to establish the now-dominant documentary style.
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livres
livres
Publication:
octobre 2010
octobre 2010
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livres
livres
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$66.00
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Résumé:
This publication presents a critical examination of the intersections between photography and sculpture, exploring how one medium has become implicated in the understanding of the other. Through a selection of nearly 300 pictures by more than 100 artists from the nineteenth century to the present, it looks at how and why sculpture became a photographic subject and how(...)
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This publication presents a critical examination of the intersections between photography and sculpture, exploring how one medium has become implicated in the understanding of the other. Through a selection of nearly 300 pictures by more than 100 artists from the nineteenth century to the present, it looks at how and why sculpture became a photographic subject and how(...)
Publication:
août 2010
août 2010
Titre:
The original copy: photography of sculpture, 1839 to today
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This publication presents a critical examination of the intersections between photography and sculpture, exploring how one medium has become implicated in the understanding of the other. Through a selection of nearly 300 pictures by more than 100 artists from the nineteenth century to the present, it looks at how and why sculpture became a photographic subject and how photography informs and challenges our knowledge of sculpture. The images range in subject from inanimate objects to performing bodies.
The original copy: photography of sculpture, 1839 to today
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This publication presents a critical examination of the intersections between photography and sculpture, exploring how one medium has become implicated in the understanding of the other. Through a selection of nearly 300 pictures by more than 100 artists from the nineteenth century to the present, it looks at how and why sculpture became a photographic subject and how photography informs and challenges our knowledge of sculpture. The images range in subject from inanimate objects to performing bodies.
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livres
livres
Publication:
août 2010
août 2010
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livres
livres
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$84.00
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Examining the revolution in photography that took place across Europe between 1918 and 1945, this survey orients its examination around three cities, each of which served as a nexus for major developments in the medium: Prague, Paris and Barcelona. Until the First World War, photography had largely followed the aesthetics of painting. During and after the war, such(...)
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Examining the revolution in photography that took place across Europe between 1918 and 1945, this survey orients its examination around three cities, each of which served as a nexus for major developments in the medium: Prague, Paris and Barcelona. Until the First World War, photography had largely followed the aesthetics of painting. During and after the war, such(...)
Titre:
Praha, Paris, Barcelona: photographic modernity from 1918 to 1948
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Examining the revolution in photography that took place across Europe between 1918 and 1945, this survey orients its examination around three cities, each of which served as a nexus for major developments in the medium: Prague, Paris and Barcelona. Until the First World War, photography had largely followed the aesthetics of painting. During and after the war, such movements as Constructivism and Surrealism led photography to new frontiers, developing techniques and styles that explored the medium strictly on its own terms.
Praha, Paris, Barcelona: photographic modernity from 1918 to 1948
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Résumé:
Examining the revolution in photography that took place across Europe between 1918 and 1945, this survey orients its examination around three cities, each of which served as a nexus for major developments in the medium: Prague, Paris and Barcelona. Until the First World War, photography had largely followed the aesthetics of painting. During and after the war, such movements as Constructivism and Surrealism led photography to new frontiers, developing techniques and styles that explored the medium strictly on its own terms.
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livres
livres
Publication:
août 2010
août 2010
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livres
livres
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In contemporary art, the mention of Leipzig brings to mind Arno Rink or Neo Rauch, but a comparable school of photography evolved alongside these painters. This publication introduces these extraordinary photographers to a broader audience, among them Arno Fischer, Evelyn Richter and Wolfgang G. Schröter.
$66.00
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Résumé:
In contemporary art, the mention of Leipzig brings to mind Arno Rink or Neo Rauch, but a comparable school of photography evolved alongside these painters. This publication introduces these extraordinary photographers to a broader audience, among them Arno Fischer, Evelyn Richter and Wolfgang G. Schröter.
Titre:
The other Leipzig School: photography in the GDR, teachers and students of the Academy of Visual Arts Leipzig
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In contemporary art, the mention of Leipzig brings to mind Arno Rink or Neo Rauch, but a comparable school of photography evolved alongside these painters. This publication introduces these extraordinary photographers to a broader audience, among them Arno Fischer, Evelyn Richter and Wolfgang G. Schröter.
The other Leipzig School: photography in the GDR, teachers and students of the Academy of Visual Arts Leipzig
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$66.00
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Résumé:
In contemporary art, the mention of Leipzig brings to mind Arno Rink or Neo Rauch, but a comparable school of photography evolved alongside these painters. This publication introduces these extraordinary photographers to a broader audience, among them Arno Fischer, Evelyn Richter and Wolfgang G. Schröter.
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livres
livres
Publication:
août 2010
août 2010
Classification:
livres
livres
Titre:
Photomaton
Photomaton
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En septembre 1925, à New York, un immigrant d’origine russe, Anatol Josepho, installe le premier studio photo entièrement automatisé. Une petite cabine où il est possible de réaliser et d’obtenir des portraits d’identités sans l’intervention d’un photographe : « 8 photos en 8 minutes pour 25 cents ». Le Photomaton est né. Le procédé est simple. Le succès est immédiat.(...)
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En septembre 1925, à New York, un immigrant d’origine russe, Anatol Josepho, installe le premier studio photo entièrement automatisé. Une petite cabine où il est possible de réaliser et d’obtenir des portraits d’identités sans l’intervention d’un photographe : « 8 photos en 8 minutes pour 25 cents ». Le Photomaton est né. Le procédé est simple. Le succès est immédiat.(...)
Titre:
Photomaton
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En septembre 1925, à New York, un immigrant d’origine russe, Anatol Josepho, installe le premier studio photo entièrement automatisé. Une petite cabine où il est possible de réaliser et d’obtenir des portraits d’identités sans l’intervention d’un photographe : « 8 photos en 8 minutes pour 25 cents ». Le Photomaton est né. Le procédé est simple. Le succès est immédiat. Très vite le procédé va être détourné de son usage premier, et ouvrir un nouveau champ à l'improvisation, à la détente, au laisser-aller et à l'expression artistique. Séquencé en trois grands thèmes, Origines et Photographie identitaire, Arts, Détournements, ce livre dresse un inventaire du photomaton et de ses variations artistiques en y mêlant autoportraits de célébrités et d’anonymes. Le photomaton, marque commerciale devenue désignation générique au même titre que « frigidaire », a irréversiblement modifié la perception que nous avons de notre propre image, comme en témoigne l’intérêt qu’il a suscité et suscite toujours auprès de nombreux artistes mais aussi du grand public !
Photomaton
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Résumé:
En septembre 1925, à New York, un immigrant d’origine russe, Anatol Josepho, installe le premier studio photo entièrement automatisé. Une petite cabine où il est possible de réaliser et d’obtenir des portraits d’identités sans l’intervention d’un photographe : « 8 photos en 8 minutes pour 25 cents ». Le Photomaton est né. Le procédé est simple. Le succès est immédiat. Très vite le procédé va être détourné de son usage premier, et ouvrir un nouveau champ à l'improvisation, à la détente, au laisser-aller et à l'expression artistique. Séquencé en trois grands thèmes, Origines et Photographie identitaire, Arts, Détournements, ce livre dresse un inventaire du photomaton et de ses variations artistiques en y mêlant autoportraits de célébrités et d’anonymes. Le photomaton, marque commerciale devenue désignation générique au même titre que « frigidaire », a irréversiblement modifié la perception que nous avons de notre propre image, comme en témoigne l’intérêt qu’il a suscité et suscite toujours auprès de nombreux artistes mais aussi du grand public !
Classification:
livres
livres
Publication:
février 2011
février 2011
