Households
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In his "Households" series, artist and architect Mark Robbins has invented the "flip side" of interior design magazines: a compelling series of photographs of actual people in actual homes. A young family at a writers retreat, a gay couple in a Long Island beach house, a husband and wife in a family compound, a single parent in a city apartment: Robbins has photographed(...)
Monographies photo
octobre 2005, New York
Households
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In his "Households" series, artist and architect Mark Robbins has invented the "flip side" of interior design magazines: a compelling series of photographs of actual people in actual homes. A young family at a writers retreat, a gay couple in a Long Island beach house, a husband and wife in a family compound, a single parent in a city apartment: Robbins has photographed residents and environments that comment on contemporary life and relationships. Robbins's design and photography work, which bridges the fields of art and architecture, has long focused on the complex social and political forces that contribute to the built environment. The thoughtfully arranged compositions reinforce, undermine, and even confuse stereotypes; the collection as a whole comments on present-day customs and ways of life in all their complexity.
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In the spring of 2000, a man in Oregon hid a box of toys in the woods, posted the geographic coordinates of its location on a Web site, and issued a challenge for others to find it. People used their GPS receivers to find his treasure, and a new game was born. Today over a million people worldwide participate in geocaching, hiding stashes of trinkets in a variety of(...)
Local treasures : geocaching across America
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In the spring of 2000, a man in Oregon hid a box of toys in the woods, posted the geographic coordinates of its location on a Web site, and issued a challenge for others to find it. People used their GPS receivers to find his treasure, and a new game was born. Today over a million people worldwide participate in geocaching, hiding stashes of trinkets in a variety of locations - from a grove of trees to a cliff ledge to the depths of a riverbed - and then inviting others to find them, leave a note, and swap a treasure of their own. In "Local Treasures" Margot Anne Kelley offers one of the first books on "geocaching," exploring what compels ordinary people across the world to take part in these extraordinary treasure hunts. Kelley traveled throughout the U.S. to chronicle the sites and stories of geocaching adventures, from the rocky coasts of Maine to the deserts surrounding Las Vegas to the starting point of the Mason-Dixon Line. Each full-color photograph exposes a vision of America quite unlike that presented in a traditional guidebook : truly off the beaten path, these are non-idealized landscapes, often places with special meaning for the players alone. Kelley's accompanying writings explore the world of geocaching communities, their rare ability to integrate new technologies with the natural world, and their complex and often ambivalent relationships to the surveillance technologies that sustain the game. Kelley's text is an examination of a new and creative diversion emerging from the intersection of the virtual world with the real. With a foreword by Frank Gohlke.
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"Private Places" offers an intimate glimpse into the personal gardens of Chicago residents, exploring how they carved out these quiet spaces of flora and greenery in the cityscape of concrete and brick. Temkin's camera lens captures the lushness and vibrancy of these backyard gardens, roving over the diverse natural and artificial elements contained in each. His images(...)
Private places : photographs of Chicago gardens
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"Private Places" offers an intimate glimpse into the personal gardens of Chicago residents, exploring how they carved out these quiet spaces of flora and greenery in the cityscape of concrete and brick. Temkin's camera lens captures the lushness and vibrancy of these backyard gardens, roving over the diverse natural and artificial elements contained in each. His images chronicle how gardens are safe havens for these city dwellers, places where they can read, meditate, relax, and enjoy the experience of working with the soil and its fruits. Temkin notes, "The small gardens have bits and pieces of the person who owns them; found objects that are dear to them, keepsakes, statues, and personal items that reveal the person behind it."
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They are places we fear to tread, monuments to the principles of our forebears, awe-inspiring towers of achievement : public institutions that sustain and support our lives are all around us. Scott Fortino investigates these enduring pillars of public life in "Institutional", a striking visual essay that documents the diverse architectural structures that house the(...)
Monographies photo
septembre 2005, Santa Fe
Institutional : photographs of jails, schools, and other Chicago buildings
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They are places we fear to tread, monuments to the principles of our forebears, awe-inspiring towers of achievement : public institutions that sustain and support our lives are all around us. Scott Fortino investigates these enduring pillars of public life in "Institutional", a striking visual essay that documents the diverse architectural structures that house the foundations of civic life in the city of Chicago. From schools to churches to prisons, Fortino transforms these worn, familiar edifices into compelling symbols of long-lost ideals and communitarian spirit. Fortino coaxes out the subtle warmth and depths of these often overwhelming and pitiless public spaces in his photographs, as his camera reveals the hidden characters of both high-profile works by renowned designers such as Rem Koolhaas, Helmut Jahn, and Mies van der Rohe as well as the stolid structures designed by long-forgotten architects. Light, colour, and composition work together in Fortino's images to produce provocative new perspectives on the interiors of public buildings, revealing how their cultural and social roles as places of worship, education, punishment, or entertainment cast long and complex shadows over our lives. Fortino challenges us in "Institutional" to rethink our view of the public spaces we pass through every day by offering an original and fascinating photographic study of the settings in which the important events of human life unfold.
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Bob Thall has been photographing the skyline and streets of Chicago for over thirty years, and here in "At City's Edge" he chronicles the twenty-five mile shoreline where the asphalt meets the inland sea. Thall's stark yet rich images take viewers from the Evanston border on the North Shore down to 100th Street on the South Side, documenting the natural scenery,(...)
At city's edge : photographs of the Chicago lakefront
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Bob Thall has been photographing the skyline and streets of Chicago for over thirty years, and here in "At City's Edge" he chronicles the twenty-five mile shoreline where the asphalt meets the inland sea. Thall's stark yet rich images take viewers from the Evanston border on the North Shore down to 100th Street on the South Side, documenting the natural scenery, architectural structures, and people that populate the coastline. From the lakefront parks to summer beaches to the Air and Water Show, Chicago enfolds Lake Michigan into its urban character, but Thall's images make clear that the lake remains a dynamic and powerful force, with nature and civilization clashing at its rim. "At City's Edge" brings the lakefront to life in all its complexity, chronicling in its elegant visual sequence the sand-covered city beaches, the rock-studded shoreline, the running paths, and the buildings built along this unique intersection.
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City streets are perhaps the most paradoxically anonymous and personal of all public spaces in the city: people blindly collide in their rush to reach their destinations, while the homeless look for humanity amid the thousands passing by. Gary Stochl captures this daily drama in "On City Streets", an examination of the unpredictable people, places, and events that make up(...)
On city streets : Chicago, 1964-2004
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City streets are perhaps the most paradoxically anonymous and personal of all public spaces in the city: people blindly collide in their rush to reach their destinations, while the homeless look for humanity amid the thousands passing by. Gary Stochl captures this daily drama in "On City Streets", an examination of the unpredictable people, places, and events that make up the streets of downtown Chicago. It is a stunning collection made even more so by the fact that this is the first work of Stochl's to be seen in his forty years as a photographer. Introduction by Bob Thall.
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One of Spain’s most prominent and innovative artists, Joan Fontcuberta is best known for exploring the interstices between art, science, and illusion. Where science reaches its limits in his works, the imagination frequently finds a creative space in which to flourish. In "Landscapes without memory", Fontcuberta has co-opted a piece of computer software originally(...)
Monographies photo
janvier 1900, New York
Joan Fontcuberta : landscapes without memory
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One of Spain’s most prominent and innovative artists, Joan Fontcuberta is best known for exploring the interstices between art, science, and illusion. Where science reaches its limits in his works, the imagination frequently finds a creative space in which to flourish. In "Landscapes without memory", Fontcuberta has co-opted a piece of computer software originally designed for military or scientific use in rendering three-dimensional images of landscapes. The software enables the user to build photo-realistic models based on information scanned from two-dimensional sources—usually satellite surveys or cartographic data. The result gives the user the illusion of navigating in three dimensions which had previously been visualized only as a flat image. With this widely available “freeware” as his starting point, Fontcuberta has created the two series that constitute his "Landscapes without memory". In the “Landscapes of landscapes” series, Fontcuberta feeds the software fragments of pictures by Turner, Cézanne, Dalí, Stieglitz, Weston, and others, forcing the program to interpret a variety of landscape masterworks as “real.” The contours and tones of these painted and photographic landscapes are transformed into three-dimensional mountains, rivers, valleys, and clouds. The vocabulary of art is thus transmuted into that of cartography. In the “Bodyscapes” series, Fontcuberta uses the same software to reinterpret photographs depicting fragments of his own body. The result? A wild, baroque, virtual- fantasy world. While referring to the contemporary exchange between illusion, nature, culture, and technology, "Landscapes without memory" also makes a pointed gesture aimed at fooling that epitome of machine rationalism: the computer.
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My Amsterdam
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This book combines the original black and white prints and a selection of new colour images. However, many of the black and white images, aalthough printed by van der Elksen, had not made it into his Amsterdam book published in 1979 or any of the shows where he presented his Amsterdam work.
My Amsterdam
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This book combines the original black and white prints and a selection of new colour images. However, many of the black and white images, aalthough printed by van der Elksen, had not made it into his Amsterdam book published in 1979 or any of the shows where he presented his Amsterdam work.
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"Jeff Wall" is published to accompany a major exhibition of photographs at Tate Modern. The exhibition, developed in close consultation with the artist, features works from throughout his career, together with new work produced especially for the exhibition. Wall (b. 1946) has been making photographs since 1967. He has helped to give photography a prominent place in(...)
Jeff Wall : photographs, 1978-2004
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"Jeff Wall" is published to accompany a major exhibition of photographs at Tate Modern. The exhibition, developed in close consultation with the artist, features works from throughout his career, together with new work produced especially for the exhibition. Wall (b. 1946) has been making photographs since 1967. He has helped to give photography a prominent place in contemporary art as well as effecting one of the most radical new developments in the field. His highly innovative approach, best known through large color transparencies of carefully constructed scenes mounted in wall-hung light boxes, has been complemented for the past 10 years by large black-and-white photographs on paper. This book illustrates many of these important works, including "Picture for Women", "The Storyteller", and "After the Invisible Man", and explores the impact of the history of art and cinema on Wall's practice, revealing how he meshes documentary techniques with staged settings and digital collage.
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An architect interested in ephemeral structures, a photographer who has grown increasingly suspicious of pictures, Jaar's most telling gesture is to relinquish the camera by placing it, figuratively and sometimes literally, in the public's hands. In other words, Jaar is a master of indirection. And no wonder. His work was shaped at the outset by the need to speak clearly(...)
Monographies photo
janvier 1900, Milano
Alfredo Jaar : the fire this time - public interventions, 1979-2005
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An architect interested in ephemeral structures, a photographer who has grown increasingly suspicious of pictures, Jaar's most telling gesture is to relinquish the camera by placing it, figuratively and sometimes literally, in the public's hands. In other words, Jaar is a master of indirection. And no wonder. His work was shaped at the outset by the need to speak clearly and forcefully against murderous injustice, using language of the most lucid obliquity. Jaar's work declares that daring to connect and participate is our last, best hope.
Monographies photo