But still, it turns
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With 'But Still, It Turns', Paul Graham curates a subtle thesis and revitalising manifesto for photography. The dynamic and diverse work gathered here advocates an unashamed, but not uncomplicated, dedication to the brilliant tangle of reality. Without being tempted by the artifice of the studio or the restrictive demands of conventional documentary, these artists tell(...)
But still, it turns
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With 'But Still, It Turns', Paul Graham curates a subtle thesis and revitalising manifesto for photography. The dynamic and diverse work gathered here advocates an unashamed, but not uncomplicated, dedication to the brilliant tangle of reality. Without being tempted by the artifice of the studio or the restrictive demands of conventional documentary, these artists tell open-ended stories that shift, warp, and branch, attuned unfailingly to life-as-it-is.
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Jeux de mains
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Most artists have, at some point, represented the universal symbol of creation which is the hand. Many of them have also chosen the hand as a recurring pattern in their work. This observation inspired Cécile Poimboeuf-Koizumi — editor and founder of Chose Commune — to gather the works that caught her attention in a book, following no thematic or chronological order. The(...)
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mars 2021
Jeux de mains
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Most artists have, at some point, represented the universal symbol of creation which is the hand. Many of them have also chosen the hand as a recurring pattern in their work. This observation inspired Cécile Poimboeuf-Koizumi — editor and founder of Chose Commune — to gather the works that caught her attention in a book, following no thematic or chronological order. The selection was made in collaboration with Stephen Ellcock. From Pablo Picasso to Helena Almeida, from Louise Bourgeois to Alberto Giacometti, from John Baldessari to Francesca Woodman, and comprising a multitude of treasures from the ancient ages to documents from popular imagery, 'Jeux de mains' confronts and mixes famous, emerging and anonymous artists from a wide-range of practices. The result is a collection of more than a hundred images compiled intuitively in this book.
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Le festival Circulation(s), initié par l’association Fetart en 2011, propose chaque année de découvrir la jeune photographie européenne. Il a pour vocation de faire émerger les talents et de créer un réseau de structures européennes. À Paris et dans différents lieux en France et à l’international, il révèle chaque année la vitalité de la jeune création et défend la(...)
Circulation(s), 2021 : Festival de la jeune photographie européenne
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Le festival Circulation(s), initié par l’association Fetart en 2011, propose chaque année de découvrir la jeune photographie européenne. Il a pour vocation de faire émerger les talents et de créer un réseau de structures européennes. À Paris et dans différents lieux en France et à l’international, il révèle chaque année la vitalité de la jeune création et défend la diversité des écritures photographiques au travers d’expositions et d’événements singuliers. Cet ouvrage constitue le catalogue de l’édition 2021.
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How a small photography club gave birth to modernist photography in Brazil. Published in conjunction with the first major museum exhibition of Brazilian modernist photography outside of Brazil, ''Fotoclubismo'' presents the groundbreaking creative achievements of São Paulo’s Foto-Cine Clube Bandeirante, a group of amateur photographers founded in 1939 that is essentially(...)
Fotoclubismo: Brazilian modernist photography and the Foto-Cine Clube Bandeirante 1946-1964
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How a small photography club gave birth to modernist photography in Brazil. Published in conjunction with the first major museum exhibition of Brazilian modernist photography outside of Brazil, ''Fotoclubismo'' presents the groundbreaking creative achievements of São Paulo’s Foto-Cine Clube Bandeirante, a group of amateur photographers founded in 1939 that is essentially unknown today to European and North American audiences. The vast majority of FCCB members pursued photography outside of their day jobs as lawyers, businessmen, accountants, journalists, engineers, biologists and bankers, but they were nonetheless quite serious about their artistic ambition. Their radical experimentations with process and form and their determination to distill inventive compositions from everyday life contributed to their esteemed reputation within an active international postwar scene—a status that has been all but forgotten.
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+ Photographie, vol. 2
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Chaque année, des milliers de photographies et d’objets (tirages, négatifs, plaques, albums, installations, appareils…) entrent dans les collections publiques françaises (musées nationaux ou régionaux, grandes institutions, Frac, centres d'art ou d'archives, bibliothèques…). Jusqu’à la création de cette publication en 2020, le public ne disposait pas d'un aperçu de ces(...)
+ Photographie, vol. 2
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Chaque année, des milliers de photographies et d’objets (tirages, négatifs, plaques, albums, installations, appareils…) entrent dans les collections publiques françaises (musées nationaux ou régionaux, grandes institutions, Frac, centres d'art ou d'archives, bibliothèques…). Jusqu’à la création de cette publication en 2020, le public ne disposait pas d'un aperçu de ces acquisitions. Parmi les découvertes de cette 2e édition, les tirages albuminés de l'album Eugène Delacroix acquis par la BnF, des œuvres de Josef Koudelka, Dolorès Marat, Susan Meiselas, Bernard Plossu ou Wolfgang Tillmans, un focus sur la photographie de spectacle, Man Ray en photographe de mode, les images impressionnantes prises par un capitaine terre-neuvas dans les années 1930, les carnets du projet Azimut de Tendance Floue à travers la France, un almanach de 1941 transformé par son propriétaire en album de famille en captivité…Par cette sélection d'œuvres replacées dans le contexte de leur création et de leur acquisition, « +Photographie » revisite l'histoire du médium, de ses origines à ses champs contemporains.
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Family affairs
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Since the invention of photography, the family has been a constant subject of photographic observation, both in private photo albums and in artistic series. The group exhibition Family Affairs – Family in Current Photography, conceived by Ingo Taubhorn, curator of the Haus der Photographie, examines the current status of this traditional genre. A transcontinental(...)
Family affairs
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Since the invention of photography, the family has been a constant subject of photographic observation, both in private photo albums and in artistic series. The group exhibition Family Affairs – Family in Current Photography, conceived by Ingo Taubhorn, curator of the Haus der Photographie, examines the current status of this traditional genre. A transcontinental selection of artistic projects from the last decade reveals both the diversity of photographic approaches and the heterogeneity of family models and complex dynamics. The catalog presents a wide variety of series and work groups and contextualizes the positions through comprehensive essays on various family themes in both photography and film, as well as within our society.
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Inspired and guided by Bernd and Hiller Becher, themselves pioneers in the area of documentary photography, the artists of Germany’s Düsseldorf School not only pushed the boundaries of their teachers’ practice, but also ushered in three generations of technical and compositional achievement that is rivalled in importance only by the arrival of colour photography. This(...)
The Düsseldorf School of Photography
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Inspired and guided by Bernd and Hiller Becher, themselves pioneers in the area of documentary photography, the artists of Germany’s Düsseldorf School not only pushed the boundaries of their teachers’ practice, but also ushered in three generations of technical and compositional achievement that is rivalled in importance only by the arrival of colour photography. This book introduces readers to the historic, cultural, and scientific environments in which the Bechers’ practice thrived. It explores the teaching philosophies with which they encouraged their students, and considers the qualities that highlight the Düsseldorf School: intricate detail, large scale, painterly distance combined with an immersive quality. The plate section, organized by artist, features 160 images by Andreas Gursky, Thomas Struth, Thomas Ruff, Candida Höfer, Axel Hütte, Laurenz Berges, Elger Esser, Simone Nieweg, Jörg Sasse, and Petra Wunderlich.
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Looking backward: a photographic portrait of the world at the beginning of the twentieth century
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In 1900 the stereograph was king. Its three-dimensional optics created a virtual presence for the viewer. Millions of Americans, especially schoolchildren, absorbed ideas about race, class, and gender from such 3D images, the embodiment of the notion that “seeing is believing.” Drawing on an enormous, rarely seen collection of some 300,000 stereographic views spanning the(...)
Looking backward: a photographic portrait of the world at the beginning of the twentieth century
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In 1900 the stereograph was king. Its three-dimensional optics created a virtual presence for the viewer. Millions of Americans, especially schoolchildren, absorbed ideas about race, class, and gender from such 3D images, the embodiment of the notion that “seeing is believing.” Drawing on an enormous, rarely seen collection of some 300,000 stereographic views spanning the first decade of the twentieth century, Michael Lesy presents nearly 250 images displaying a riot of peoples and cultures, stark class divisions, and unsettling glimpses of daily life a century ago.
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"The Canadians" playfully and affectionately reimagines one of the most revered photography books of the 20th century, Robert Frank’s The Americans. The source for the imagery is the print archive of The Globe and Mail, which contains more than 500,000 prints—24,000 of which have been donated to the newly formed Canadian Institute of Photography, housed within the(...)
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septembre 2017
The Canadians: photographs from the Globe and Mail archives
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"The Canadians" playfully and affectionately reimagines one of the most revered photography books of the 20th century, Robert Frank’s The Americans. The source for the imagery is the print archive of The Globe and Mail, which contains more than 500,000 prints—24,000 of which have been donated to the newly formed Canadian Institute of Photography, housed within the National Gallery of Canada. Nearly 80 of these photographs have been selected for this book, and also form the basis for a national touring exhibition. These functionary press photographs, made to illustrate news stories—the state of the roads after a severe winter; a politician on the campaign trail; the opening of a new laundromat—hold no pretentions to be works of photographic art. However, taken together, they describe Canadian culture during an era of great transformation. Published in association with the Archive of Modern Conflict, the book begins with an insightful and irreverent introduction by Douglas Coupland, bringing together themes illuminated in these photographs, and taking us on a guided tour of a Canada gone, but not forgotten. "How strange it is to look at these photos of a Canada that was almost dead when I was a child," he writes, "the Canada of my parents and my grandparents, the Canada of the late 1950s and early ‘60s, a country in which, it would seem, people were born, became teenagers, and then, magically, at the age of 21, turned into chain-smoking 50-year olds with undiagnosed cancers."
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Recent histories
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By highlighting specific creative approaches and studying the sites and collective platforms that enable these practices, this book examines the critical mass that has gathered across generations of African image-makers and lens-based artists. In accentuating different perspectives within this generation and considering the infrastructures that often link them, Recent(...)
Recent histories
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By highlighting specific creative approaches and studying the sites and collective platforms that enable these practices, this book examines the critical mass that has gathered across generations of African image-makers and lens-based artists. In accentuating different perspectives within this generation and considering the infrastructures that often link them, Recent Histories provides a point of entry to engage critically with current practices, and opens up considerations about how to conceptualize the frameworks of contemporary African photography and video art. Recent Histories features the work of Edson Chagas, Mimi Cherono Ng’ok, Andrew Esiebo, Em’kal Eyongakpa, François- Xavier Gbré, Simon Gush, Délio Jasse, Lebohang Kganye, Sabelo Mlangeni, Mame-Diarra Niang, Dawit L. Petros, Zina Saro-Wiwa, Thabiso Sekgala and Michael Tsegaye.
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