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German photographer Andreas Gefeller's Supervisions series, begun in 2002, is labor-intensive stuff. He collages literally hundreds of small aerial views of public spaces into a large-scale photograph that, by lacking a central focus, challenges our perception and seemingly oscillates between two- and three-dimensionality.
Andreas Gefeller: photographs
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German photographer Andreas Gefeller's Supervisions series, begun in 2002, is labor-intensive stuff. He collages literally hundreds of small aerial views of public spaces into a large-scale photograph that, by lacking a central focus, challenges our perception and seemingly oscillates between two- and three-dimensionality.
Monographies photo
Native Land : stop eject
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This book was published on the occasion of the exhibition "Native Land : stop eject" presented at the Fondation Cartier pour l'art contemporain in Paris from November 21, 2008 to March 15, 2009. Chief curator : Hervé Chandès
Native Land : stop eject
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This book was published on the occasion of the exhibition "Native Land : stop eject" presented at the Fondation Cartier pour l'art contemporain in Paris from November 21, 2008 to March 15, 2009. Chief curator : Hervé Chandès
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Animal logic
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Photographer Richard Barnes has spent more than ten years documenting the way we assemble, contain, and catalog the natural world. Barnes's behind-the-scenes photographs are haunting reminders that there is nothing natural about a natural history museum. Barnes's first monograph, collects four related species of his photographic work that touch on themes relevant to(...)
Animal logic
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Photographer Richard Barnes has spent more than ten years documenting the way we assemble, contain, and catalog the natural world. Barnes's behind-the-scenes photographs are haunting reminders that there is nothing natural about a natural history museum. Barnes's first monograph, collects four related species of his photographic work that touch on themes relevant to science, history, archaeology, and architecture. Through his lens sights and objects normally hidden from public view—half-installed dioramas, partially wrapped specimens, anatomical models, exploded skulls, and taxidermied animals in shipping crates—take on a strange beauty.
Monographies photo
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Thomas Demand provokes confrontations between photography's poles of fact and fiction. True-to-size paper models are photographed and then scaled down, while traces of event and person are systematically removed, leaving phantom images of the proposed "crime scene" that seem at once familiar and dreamlike. Demand's 2009 Nationalgalerie (Berlin) exhibition and catalogue(...)
Monographies photo
janvier 2010
Thomas Demand, Nationalgalerie
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Thomas Demand provokes confrontations between photography's poles of fact and fiction. True-to-size paper models are photographed and then scaled down, while traces of event and person are systematically removed, leaving phantom images of the proposed "crime scene" that seem at once familiar and dreamlike. Demand's 2009 Nationalgalerie (Berlin) exhibition and catalogue bring together his work on German history since 1945--a scrutiny of the "Deutschlandbild," the "German image." These reflections, reconstructed in photographs from a variety of scenarios in the postwar period, encourage the viewer to consider the complexity of the photographic document. Demand's representations of the social and historical are introduced not as monoliths but as places of multiple possibility, halls of mirrors in which the viewer is forced to confront--rather than be fed--potential distortions. His concern for the pliability of human memory and the play between the central and peripheral image contributes to the vibrancy of his art. For Demand, the photographer's accomplishment lies in "re-privatisating that which is constructed as a public opinion."
Monographies photo
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"Images left behind are in the end stronger than truth and facts. Through Douglas Kirkland's images we can imagine what the famous Coco had been all about before she became the formidable Chanel," muses Karl Lagerfeld in Mademoiselle, a selection of photographs of Chanel taken by Douglas Kirkland in 1962 on assignment in Paris for the American magazine Look. Lagerfeld is(...)
Mademoiselle: Coco Chanel/Summer 62
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"Images left behind are in the end stronger than truth and facts. Through Douglas Kirkland's images we can imagine what the famous Coco had been all about before she became the formidable Chanel," muses Karl Lagerfeld in Mademoiselle, a selection of photographs of Chanel taken by Douglas Kirkland in 1962 on assignment in Paris for the American magazine Look. Lagerfeld is the designer currently at the helm of the Parisian fashion house, made iconic by designer Coco Chanel during her long reign, from 1909-1971--and the designer of this handsome edition as well. Through his introduction and captions to these photographs, we understand how important Chanel's image has been to the success of the century-old French couture line.
Joel Sternfeld : iDubai
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Joel Sternfeld is an artist known for work which explores utopic and dystopic possibilities.
Joel Sternfeld : iDubai
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Joel Sternfeld is an artist known for work which explores utopic and dystopic possibilities.
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Scrapbook
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For about three centuries in many different countries, a scrapbook or album became the most immediate manner of diary making. In Ireland, this often took on a particular and idiosyncratic form. From the late 1960s until the early 1990s, the turmoil of Northern Ireland was often reflected in these hand-constructed books. Clippings from newspapers, family photos and(...)
Scrapbook
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For about three centuries in many different countries, a scrapbook or album became the most immediate manner of diary making. In Ireland, this often took on a particular and idiosyncratic form. From the late 1960s until the early 1990s, the turmoil of Northern Ireland was often reflected in these hand-constructed books. Clippings from newspapers, family photos and personal mementos often found their way into highly individual collaged records of daily life. Donovan Wylie and Timothy Prus have recreated a non-sectarian version with the benefit of hindsight.
Monographies photo
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This book comprises photographs of all those ominous, forbidding Los Angeles locations so hauntingly described by Chandler in his novels. From Malibu Pier to the Hollywood Sign, from Union Station to the Beverly Hills Hotel, from MGM Studios to Musso and Frank's Grill, these locales form the geography of Chandler's imagination, and conjure a world not yet entirely(...)
Daylight noir, Raymond Chandler's imagined city
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This book comprises photographs of all those ominous, forbidding Los Angeles locations so hauntingly described by Chandler in his novels. From Malibu Pier to the Hollywood Sign, from Union Station to the Beverly Hills Hotel, from MGM Studios to Musso and Frank's Grill, these locales form the geography of Chandler's imagination, and conjure a world not yet entirely vanished. Clive James wrote of Chandler's fascination with Los Angeles that when he said that it had as much personality as a paper cup, he was saying what he liked about it. But Chandler was also drawn to the Hopperesque loneliness of the city, to that sense of isolate existences that never merge.
Monographies photo
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In his recent work ‘The Rape of Africa’ the artist draws inspiration in, and provides a response to, Botticelli’s painting ‘Venus and Mars’. LaChappelle’s contemporary tableau tells a story of innocence, war, destruction and material consumption balanced alongside beauty and desire. This catalogue explores this piece through a double-page, full-colour spread of the work,(...)
Monographies photo
août 2009, Amsterdam
Daivd Lachapelle: the rape of Africa
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In his recent work ‘The Rape of Africa’ the artist draws inspiration in, and provides a response to, Botticelli’s painting ‘Venus and Mars’. LaChappelle’s contemporary tableau tells a story of innocence, war, destruction and material consumption balanced alongside beauty and desire. This catalogue explores this piece through a double-page, full-colour spread of the work, various sketches, preparatory watercolours and two essays.
Monographies photo
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This volume collects new work by the Helsinki School photographer, set in the deserted Russian mining town, Spitzbergen.
Ville Lenkkeri: the place of no roads
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This volume collects new work by the Helsinki School photographer, set in the deserted Russian mining town, Spitzbergen.
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