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Titre:
L'Ukraine Post-Euromaïdan dans ses liens intangibles avec l'Union Soviétique

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Résumé:
Les architectures et les paysages témoignent de chronologies paradoxales. Comme l'ont illustré l'effet de la « dé-communisation » issue de la révolution de Maïdan et l'immédiate mise en musée des événements dans le Donbass, une partie de l'histoire est supprimée pour être tout de suite remplacée par une autre. Ce livre explore une Ukraine construite en diachronie, constamment modifiée par les révolutions et les guerres. // The architectures and landscapes reveal the paradoxical chronologies that Ukraine cannot hide. As illustrated by the effect of 'decommunisation' post Maïdan, paralleled with the immediate establishment of the current affairs in Donbass, part of the history is suppressed to be immediately replaced with another. This book explores a Ukraine built in a diachrony, constantly modified by revolution and war.

Titre:
Postcards fromCheckpoint Charlie: images of the Berlin wall

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Résumé:
Between 1945 and 1961, an estimated 2.5 million people fled East Germany in search of the political and economic freedom offered by West Germany. To thwart this tide of defections, on the morning of August 13, 1961, hundreds of East German troops began erecting the Berlin wall—a barrier that would take nearly twenty years to complete and would eventually span 166 kilometers. In Postcards from Checkpoint Charlie, the Bodleian Library assembles a stunning collection of images to document the wall’s impact worldwide. The postcards in this fascinating volume trace the development of the wall—from its beginnings as a simple stretch of barbed wire to the daunting final structure made of concrete and containing over 300 watchtowers. The images capture scenes of tension and urgency, such as those at Checkpoint Charlie, where we see Allied and East German soldiers coldly observing one another through binoculars.

Titre:
Picturing indians: photographics encounters and tourist fantasies in H.H. Bennett's Wisconsin Dells

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Résumé:
The interactions between Indian and white man, photographer amd photographed, suggested a relationship in which commercial motives and friendly feelings mixed, though not necessarily in equal measure. The Ho-Chunk resourcefully sought new ways to survive in the increasingly tourist-driven economy of the Dells. Bennett, struggling to keep his photography business alive, capitalized on America's comfortably nostalgic image of Native peoples as a vanishing race, no longer treatening and now safe for white consumption.

Titre:
Photography and Japan

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Résumé:
In "Photography and Japan", Karen Fraser argues that the diversity of styles, subjects, and functions of Japanese photography precludes easy categorization along nationalized lines. Instead, she shows that the development of photography within Japan is best understood by examining its close relationship with the country’s dramatic cultural, political, and social history. Through thematic chapters that focus on photography’s role in negotiating cultural identity, war, and the documentation of urban life, this publication introduces many images that will be unfamiliar to Western viewers and provides a broadened context for those photos that are better known.

Titre:
Earth now: american photographers and the environment

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Résumé:
Since its invention, photography has been used to document and interpret the landscape. Survey photographers in the 1860s were the first environmental advocates, arguing for the U.S. national park system. During the first half of the 20th century photographers Ansel Adams and Eliot Porter were central figures in influencing American attitudes toward wilderness and conservation. This book traces the development of environmental photography beginning with Adams, Porter and others, and the next generation of landscape photographers - Robert Adams, Richard Misrach, Robert Glenn Ketchum, Patrick Nagatani, Mark Klett, whose works confronted the issues of landscape and the environment in less idealised terms. Shifting from the historical framework, the book presents new work by twenty-three photographers working in the U.S., the next wave of artists using the camera to engage the environmental issues of the day. Ranging from documentary to conceptual, the photographs touch on topics such as land and water use, the human place in the landscape, mounting consumer waste, industrial pollution, roof gardens and the green roof initiative, local food production, energy consumption, and the effects of industry on humans and animals. Katherine Ware's text offers insightful commentary on photography and the ways that environmental issues have been framed and advanced through the medium of photography. This is a powerful commentary on global environmental issues as seen through the lens of the newest wave of environmental photographers. This book is published to coincide with an exhibition to open at the New Mexico Museum of Art, Santa Fe, New Mexico, in April 2011.

Titre:
Brush and shutter: early photography in China

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Résumé:
Uncovered here is a visual history of China during photography’s first century, from the late Qing period to Republican Shanghai and wartime Chongqing. Chinese export painters learned and adapted the medium of photography by grafting the new technology onto traditional artistic conventions—employing both brush and shutter. This publication is a catalogue from an exhibition of the same name at the J. Paul Getty Museum.

Titre:
Photography and Ireland

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Résumé:
Outside of Ireland, ideas of Irish photography center around picturesque tourist views of the emerald green of the Irish landscape and photojournalistic representations of The Troubles. Justin Carville sets out in this publication to change this perception, to give attention instead to depictions of its social transformations, political upheavals, and geographical reimaginings as a colony, nation, province, and sovereign state. Photography and Ireland explores the role of the photographic image in the colonial and postcolonial visual cultures of Ireland from the nineteenth century to the present day, and it emphasizes the transnational dimension of photography in Ireland, including foreign photographers who have contributed their images to the cultural imagination.