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« Ishimoto. Des lignes et des corps » présente les séries emblématiques de Yasuhiro Ishimoto (1921-2012) qui allient l’approche formelle du New Bauhaus de Chicago à la quintessence de l’esthétique japonaise. Cette monographie permet de redécouvrir l’oeuvre d'un photographe très peu publié de son vivant. La singularité de son regard et son travail sur le motif, allant(...)
Ishimoto : Des lignes et des corps
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« Ishimoto. Des lignes et des corps » présente les séries emblématiques de Yasuhiro Ishimoto (1921-2012) qui allient l’approche formelle du New Bauhaus de Chicago à la quintessence de l’esthétique japonaise. Cette monographie permet de redécouvrir l’oeuvre d'un photographe très peu publié de son vivant. La singularité de son regard et son travail sur le motif, allant parfois jusqu’à l’abstraction, ont fait d'Ishimoto une figure incontournable du monde de l’art qui a bouleversé la scène photographique japonaise dans les années 1960. Conçu en étroite collaboration avec le Ishimoto Yasuhiro Photo Center, cet ouvrage accompagne l’exposition éponyme présentée au BAL sous le commissariat de Diane Dufour avec Mei Asakura, directrice des Archives. Largement considéré comme étranger par ses pairs, Ishimoto importe une perspective formaliste sur la scène photographique japonaise de l’époque. Scènes de rues, portraits d’enfants déguisés pour Halloween, panneaux publicitaires, façades d’immeubles de quartiers populaires : ses images témoignent de sa maîtrise du cadrage ainsi que de sa perception sensible des textures et des motifs.
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Focusing on the practice of two leading architectural photographers, Rory Gardiner from Australia and Maxime Delvaux from Belgium, this book explores their output and poses key questions around the underpinning and parameters of the broader milieu in which they work. The coupling of the two practitioners’ images discloses specific nuances in the nature of their(...)
Analogue images: Rory Gardiner, Maxime Delvaux
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Focusing on the practice of two leading architectural photographers, Rory Gardiner from Australia and Maxime Delvaux from Belgium, this book explores their output and poses key questions around the underpinning and parameters of the broader milieu in which they work. The coupling of the two practitioners’ images discloses specific nuances in the nature of their collaborations, their modes of authorship, and how they capture everyday life. By presenting a comprehensive selection of their work alongside texts by photographers, collaborators, and critics, the book explores the dialogues, tensions, and reciprocities between photography and architecture.
Monographies photo
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Avec ce cinquième volet de l’Atlas des Régions Naturelles, Eric Tabuchi et Nelly Monnier poursuivent leur projet au long cours engagé en 2017 : la documentation globale des 450 régions naturelles – ou « pays » – qui composent le territoire français. Une aventure photographique hors normes destinée à se déployer sur plusieurs années, au rythme d’une publication par(...)
ARN Vol. 5. Atlas des régions naturelles
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Avec ce cinquième volet de l’Atlas des Régions Naturelles, Eric Tabuchi et Nelly Monnier poursuivent leur projet au long cours engagé en 2017 : la documentation globale des 450 régions naturelles – ou « pays » – qui composent le territoire français. Une aventure photographique hors normes destinée à se déployer sur plusieurs années, au rythme d’une publication par semestre. En sillonnant ces petites entités géographiques et culturelles parfois tombées en désuétude face au découpage administratif de l’Hexagone, le duo collecte les éléments visuels de ce qui fonde une région. Ils associent indifféremment les particularismes impulsés par l’homme – architectures traditionnelles, toponymes, esthétiques locales, traces de l’histoire – et les motifs naturels, tels que reliefs, paysages, couleurs, végétation, etc.
Monographies photo
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Tom de Peyret observes the inner workings of power. Behind the shine of glossy facades, into the meanders of silent infrastructures. A barely recognizable New York City is sometimes outlined in the shape of a bridge, a faraway skyscraper, or the logo of the New York Times — whose presses he surveys, along the alleyways of their Queens printing plant. This book avoids(...)
1 New York Times Plaza, NY 11356
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Tom de Peyret observes the inner workings of power. Behind the shine of glossy facades, into the meanders of silent infrastructures. A barely recognizable New York City is sometimes outlined in the shape of a bridge, a faraway skyscraper, or the logo of the New York Times — whose presses he surveys, along the alleyways of their Queens printing plant. This book avoids postcard mise-en-scènes to scrutinize the city’s own anonymous pedestal; the structure which grants the capital its daily role, as the Empire’s unofficial epicenter. Much like writer Philippe Vasset, Tom de Peyret sneaks into off-record zones, areas solely charted as non-lieus. Through oblique excursions across New York City, he explores inaccessible, forbidden or disused places From military grounds in construction to prisons and airports, his odyssey also unveils, as a reflection, the insides of the New York Times’s printing presses. There, an almost archaic form of the newspaper is being printed, to be read a few hours later in fancy hotel lobbies, airport terminals or international public libraries — distributed by the same trucks driving down the highway interchanges of the Five Boroughs.
Monographies photo
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Nowhere in Berlin does the sky feel quite so close as when you are standing on the seemingly boundless plain known as Tempelhofer Feld. One of the world’s largest inner-city open spaces, it has been the object of Anna Thiele’s (lives and works in Berlin) photographic observations for over a decade. Panorama shots capture the austere calm of this initially unprepossessing(...)
Anna Thiel: Tempelhof metamorphosis
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Nowhere in Berlin does the sky feel quite so close as when you are standing on the seemingly boundless plain known as Tempelhofer Feld. One of the world’s largest inner-city open spaces, it has been the object of Anna Thiele’s (lives and works in Berlin) photographic observations for over a decade. Panorama shots capture the austere calm of this initially unprepossessing oasis in the heart of the fast-paced capital and portray a sweeping landscape that inspires contemplative stillness.
Monographies photo
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LaToya Ruby Frazier’s award-winning first book, "The notion of family", offers an incisive exploration of the legacy of racism and economic decline in America’s small towns, as embodied by her hometown of Braddock, Pennsylvania. The work also considers the impact of that decline on the community and on her family, creating a statement both personal and truly political—an(...)
LaToya Ruby Frazier: The notion of family
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LaToya Ruby Frazier’s award-winning first book, "The notion of family", offers an incisive exploration of the legacy of racism and economic decline in America’s small towns, as embodied by her hometown of Braddock, Pennsylvania. The work also considers the impact of that decline on the community and on her family, creating a statement both personal and truly political—an intervention in the histories and narratives of the region. Frazier has compellingly set her story of three generations—her Grandma Ruby, her mother, and herself—against larger questions of civic belonging and responsibility. The work documents her own struggles and interactions with family and the expectations of community, and includes the documentation of the demise of Braddock’s only hospital, reinforcing the idea that the history of a place is frequently written on the body as well as the landscape. With The Notion of Family, Frazier knowingly acknowledges and expands upon the traditions of classic black-and-white documentary photography, enlisting the participation of her family, and her mother in particular. In the creation of these collaborative works, Frazier reinforces the idea of art and image-making as a transformative act, a means of resetting traditional power dynamics and narratives—both those of her family and of the community at large.
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Sybren Vanoverberghe: MUSA
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The series MUSA consists of twenty-six works of UV printed photographs on brass. The photographs for these works have been taken at various greenhouses in Morocco, which harvest Banana Trees. On the images we see abstract impressions of green and yellow leaves pressed against the plastic sheeting of the greenhouses. On top of that we see strips of copper wiring that keep(...)
Sybren Vanoverberghe: MUSA
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The series MUSA consists of twenty-six works of UV printed photographs on brass. The photographs for these works have been taken at various greenhouses in Morocco, which harvest Banana Trees. On the images we see abstract impressions of green and yellow leaves pressed against the plastic sheeting of the greenhouses. On top of that we see strips of copper wiring that keep the plastic sheets in position. It is the first series of images in Vanoverberghe’s work that solely puts the focus on the natural aspect of our surroundings. The work is a continuation in Vanoverberghe’s research to the material in which he presents his photographs. The visual atmosphere of the works constantly change due to the light that is captured or reflected by the brass material.
Monographies photo
Kyoichi Tsuzuki:Tokyo style
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More than three decades after its original publication, this new edition of ''Tokyo Style'' revives a cult classic and token collector’s item. Kyoichi Tsuzuki’s timeless photographs offer an intimate look at Tokyo homes as they are truly inhabited, presented here with a refreshed design that preserves the original book’s generous format. A selection of the book’s iconic(...)
Kyoichi Tsuzuki:Tokyo style
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More than three decades after its original publication, this new edition of ''Tokyo Style'' revives a cult classic and token collector’s item. Kyoichi Tsuzuki’s timeless photographs offer an intimate look at Tokyo homes as they are truly inhabited, presented here with a refreshed design that preserves the original book’s generous format. A selection of the book’s iconic images culminates in a new afterword by Kyoichi that unravels the nostalgia sparked by his work, which captures an analogue world of rich self-expression. A foreword by writer Barry Yourgrau, a longtime friend of Kyoichi, meditates on the ‘untidy and prodigiously cluttered’ hideouts of Tokyo, filled with everything '‘from the raunchy to the freaky and funky to the kawaii (“cute” in Japanese)'’. ''Tokyo Style'' invites readers into the routines of one of the world’s major metropolises, offering a template for the ways we might live more connected with ourselves and our community.
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Plastic containers from around the world figure in this series by still-life photographer Shinichi Kaneko. The containers originate from 20 cities, the majority of which Kaneko visited himself, making the rounds past DIY stores, mid-sized supermarkets, suburban big-box stores, and more in search of bottles of intriguing shape. He then shot the objects under strong(...)
Readymade: Shinichi Kaneko Photographs
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Plastic containers from around the world figure in this series by still-life photographer Shinichi Kaneko. The containers originate from 20 cities, the majority of which Kaneko visited himself, making the rounds past DIY stores, mid-sized supermarkets, suburban big-box stores, and more in search of bottles of intriguing shape. He then shot the objects under strong lighting while using filters to minimise surface halation and render a matte finish, a process he describes as akin to puzzling out a chess problem. Yet the results reveal aspects and guises that ordinarily remain hidden from view. The aim of Kaneko’s project is to discover new narratives within readymade products.
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A selection of Melanie Friend’s images from the Berlin Wall in 1985, during the Cold War, contrast with the joyful celebrations at the Wall on New Year’s Eve 1989 (seven weeks after the fall of the Wall).
Melanie Friend: Berlin Wall 1985-1990
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A selection of Melanie Friend’s images from the Berlin Wall in 1985, during the Cold War, contrast with the joyful celebrations at the Wall on New Year’s Eve 1989 (seven weeks after the fall of the Wall).
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