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This is the first substantial monograph to examine the photography of Jaromír Funke (1896-1945), an innovator of modernist photography, comparable to contemporaries such as Jaroslav Rössler, Man Ray, László Moholy-Nagy, Albery Renger-Patzsch, Aleksander Rodchenko, Paul Strand and Edward Weston.
Jaromir Funke: between construction and emotion
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This is the first substantial monograph to examine the photography of Jaromír Funke (1896-1945), an innovator of modernist photography, comparable to contemporaries such as Jaroslav Rössler, Man Ray, László Moholy-Nagy, Albery Renger-Patzsch, Aleksander Rodchenko, Paul Strand and Edward Weston.
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Vanished Summer, a stark and subtle photographic series by Icelandic artist Katrín Elvarsdóttir (born 1964), is inspired by author Gyrir Elíasson’s texts on solitude. Containing more than 40 of her often melancholy photographs, Vanished Summer also features a poetic text by Harpa Árnadóttir and a cover that unfolds into a poster.
Katrín Elvarsdóttir: vanished summer
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Vanished Summer, a stark and subtle photographic series by Icelandic artist Katrín Elvarsdóttir (born 1964), is inspired by author Gyrir Elíasson’s texts on solitude. Containing more than 40 of her often melancholy photographs, Vanished Summer also features a poetic text by Harpa Árnadóttir and a cover that unfolds into a poster.
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Photographer Laura Letinsky is known for her depictions of the remnants of foods and objects common to the dining table, ranging from a lipstick-smeared half-empty wine glass to nibbled-upon cakes over ripe fruits. These works have commonly used an actual tabletop as their point of origin. For her new series Ill Form & Void Full, she creates references to the table from(...)
Laura Letinsky : ill form and void full
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Photographer Laura Letinsky is known for her depictions of the remnants of foods and objects common to the dining table, ranging from a lipstick-smeared half-empty wine glass to nibbled-upon cakes over ripe fruits. These works have commonly used an actual tabletop as their point of origin. For her new series Ill Form & Void Full, she creates references to the table from existing photographs, Martha Stewart, Dwell and Good Housekeeping magazines, her old work, the art of friends and actual objects. This process shows how ideas about the private sphere and their manifestation in our lives are always predicated upon what has come before: that is, perception itself is a construction.
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Stefan Heyne: Naked Light
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The photographs of Stefan Heyne (born 1965) are emphatically nonrepresentational. The artist omits elements that generally define a photograph, forgoing the use of any identifiable motif. Instead he creates abstract photographs that are honed to perfection by paring his imagery to a blurred play of light and shadows with no indication of form. In his most recent series of(...)
Stefan Heyne: Naked Light
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The photographs of Stefan Heyne (born 1965) are emphatically nonrepresentational. The artist omits elements that generally define a photograph, forgoing the use of any identifiable motif. Instead he creates abstract photographs that are honed to perfection by paring his imagery to a blurred play of light and shadows with no indication of form. In his most recent series of works, Heyne even avoids the use of soft focus as an artistic device and emphasizes, in contrast, the high-definition reproduction of perhaps one of the purest motifs of all: the cloudless sky, photographed by the artist from the window of an airplane.
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Filip Dujardin: Fictions
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Since 2007, the photographer Filip Dujardin (born 1971) has been working on a series whose humor is accompanied by references to art history. With the aid of a digital collage technique, the artist creates buildings whose construction would be impossible, using photographs of existing buildings in and around Ghent.
Filip Dujardin: Fictions
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Since 2007, the photographer Filip Dujardin (born 1971) has been working on a series whose humor is accompanied by references to art history. With the aid of a digital collage technique, the artist creates buildings whose construction would be impossible, using photographs of existing buildings in and around Ghent.
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This book gathers the latest group of works by German artist Michael Reisch (born 1965), who is known for his poetic landscape photography. His images of folds and distortions on a white surface appear to be photographic, but are in fact computer generated.
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août 2014
Michael Reisch: selected works
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This book gathers the latest group of works by German artist Michael Reisch (born 1965), who is known for his poetic landscape photography. His images of folds and distortions on a white surface appear to be photographic, but are in fact computer generated.
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This complex artist's book by German photographer Ursula Shulz-Dornburg (born 1938) contains nine notebooks with photographs printed on cardboard, a map and a large individual print on tissue paper, plus an essay and statements by Lawrence Weiner. Schulz-Dornburg's work unites conceptual and documentary photography.
Ursula Schulz-Dornburg: some works
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This complex artist's book by German photographer Ursula Shulz-Dornburg (born 1938) contains nine notebooks with photographs printed on cardboard, a map and a large individual print on tissue paper, plus an essay and statements by Lawrence Weiner. Schulz-Dornburg's work unites conceptual and documentary photography.
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Jeff Wall (born 1946) is both one of the most innovative and classic photographers of his generation. He became well known in the 1970s for his large-format transparencies, backlit by fluorescent lightboxes. His subject matter is varied and wide-ranging, based on situations experienced by the artist that are then recreated for the camera. Wall's combination of color(...)
Jeff Wall: tableaux pictures photographs 1996-2013
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Jeff Wall (born 1946) is both one of the most innovative and classic photographers of his generation. He became well known in the 1970s for his large-format transparencies, backlit by fluorescent lightboxes. His subject matter is varied and wide-ranging, based on situations experienced by the artist that are then recreated for the camera. Wall's combination of color prints and lightbox images, which he calls "cinematic" photographs, were completely novel and somewhat controversial when he first used them: only black-and-white photographs were considered appropriate for a serious museum exhibit. In 1996, Wall expanded his repertoire to begin producing monochrome images, further exploring the cinematographic--particularly film noir--and the aesthetics of classic photography.
Bertram Kober : transmission
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In this volume, German photographer Bertram Kober documents transmitters and receiver plants in 12 different European countries, from the Italian mountain range to the German lowlands. His poetic images highlight the sculptural properties of these towering constructions.
Bertram Kober : transmission
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In this volume, German photographer Bertram Kober documents transmitters and receiver plants in 12 different European countries, from the Italian mountain range to the German lowlands. His poetic images highlight the sculptural properties of these towering constructions.
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Taewon jang : stained ground
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Ominous, overwhelming, and harshly lit at night—Korean photographer Taewon Jang (1976 in Seoul) puts industrial plants at the center of his work. He documented abandoned steel factories, nuclear reactors, cooling towers, storage containers, or briskly working oil refineries to depict the traces of humans’ effort to survive in modern era. Residential buildings seem tiny(...)
Taewon jang : stained ground
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Ominous, overwhelming, and harshly lit at night—Korean photographer Taewon Jang (1976 in Seoul) puts industrial plants at the center of his work. He documented abandoned steel factories, nuclear reactors, cooling towers, storage containers, or briskly working oil refineries to depict the traces of humans’ effort to survive in modern era. Residential buildings seem tiny in comparison, and the overall scale has obviously shifted. Jang prefers to show us these industrial landscapes in the gray of the dawn, or the red of dusk, by moonlight, in fog or snow; sometimes he shifts a gnarled tree into the foreground, but despite—or perhaps precisely because of—these potentially romantic, idyllic topoi, the viewer senses an uncanny, apocalyptic mood. Large, apparently deserted industrial plants dominate the horizon, yet moving backhoes, cranes, and conveyor belts give the impression they might have a hazardous life of their own.
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