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Cet ouvrage présente un reportage exceptionnel que la photographe américaine Lida Moser (1920-2014) a réalisé au Québec à l’été 1950 lors d’une tournée qui la mènera de Montréal à Gaspé – en passant par Québec, Charlevoix, le Bas-Saint-Laurent, la Côte-du-Sud, l’île d’Orléans et la Montérégie.
1950: le Québec de la photojournaliste américaine Lida Moser
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Cet ouvrage présente un reportage exceptionnel que la photographe américaine Lida Moser (1920-2014) a réalisé au Québec à l’été 1950 lors d’une tournée qui la mènera de Montréal à Gaspé – en passant par Québec, Charlevoix, le Bas-Saint-Laurent, la Côte-du-Sud, l’île d’Orléans et la Montérégie.
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Smaller Pictures
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Présentation d'une sélection de photographies de l'artiste canadien. Caractérisées par leur petit format et leur composition précise et soignée, elles témoignent de l'influence de l'art et notamment de la peinture chez le photographe. Enrichi d'un entretien avec l'artiste.
Smaller Pictures
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Présentation d'une sélection de photographies de l'artiste canadien. Caractérisées par leur petit format et leur composition précise et soignée, elles témoignent de l'influence de l'art et notamment de la peinture chez le photographe. Enrichi d'un entretien avec l'artiste.
Monographies photo
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Révolutionnaire dans les années 1970, le témoignage de Danny Lyon sur le système pénitentiaire du Texas fut un des premiers recueils de photographies à présenter des documents, lettres, etc. Cet ouvrage est épuisé depuis plus de quarante ans. Véritables pièces de collection, les exemplaires reliés en bon état de la première édition se vendent plus de 1 000 dollars.(...)
Danny Lyon : Conversations avec les morts
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Révolutionnaire dans les années 1970, le témoignage de Danny Lyon sur le système pénitentiaire du Texas fut un des premiers recueils de photographies à présenter des documents, lettres, etc. Cet ouvrage est épuisé depuis plus de quarante ans. Véritables pièces de collection, les exemplaires reliés en bon état de la première édition se vendent plus de 1 000 dollars. Danny Lyon a ajouté une postface à cette édition et l’ensemble des documents sont traduits en français en fin d’ouvrage. L’augmentation de la population carcérale aux États-Unis (la plus importante au monde) et le récent débat autour des produits utilisés lors des condamnations à mort américaines soulignent la pertinence de cet ouvrage aujourd’hui.
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Alec Soth: gathered leaves
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Alec Soth’s reputation as one of the leading lights of contemporary photographic practice is largely predicated on the books he has published. This unusual catalogue accompanies a touring exhibition which uses the four major bodies of work which Soth has published as books since 2004 as the structural basis for both a mid-career retrospective and an investigation of(...)
Alec Soth: gathered leaves
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Alec Soth’s reputation as one of the leading lights of contemporary photographic practice is largely predicated on the books he has published. This unusual catalogue accompanies a touring exhibition which uses the four major bodies of work which Soth has published as books since 2004 as the structural basis for both a mid-career retrospective and an investigation of Soth’s prescient understanding of the various and distinct applications of photography as a tool for storytelling across diverse media. The title of the exhibition comes from Walt Whitman’s poem Song of Myself [1855] and references both the pages of his books gathered for consideration and the notion that his work is also a story about Soth himself. This catalogue is a special object, bringing together an essay by Aaron Schuman spread across 29 large format postcards, with mini facsimile versions of Soth’s 4 books [3 of which are now out-of-print], all housed together in a luxurious printed and embossed clamshell box.
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Unnamed road
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For Jungjin Lee, photographing the landscape is an exploration of her own mind – the introspective states of the artist, whose photographic gaze is insistent and transformative. Her latest project Unnamed Road approaches the contested territories of Israel and the West Bank by turning to the landscape. Her black-and-white images are self-contained worlds of stillness and(...)
Unnamed road
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For Jungjin Lee, photographing the landscape is an exploration of her own mind – the introspective states of the artist, whose photographic gaze is insistent and transformative. Her latest project Unnamed Road approaches the contested territories of Israel and the West Bank by turning to the landscape. Her black-and-white images are self-contained worlds of stillness and wonder, as Lee searches for something constant in the life of the landscape. Her images suggest that despite the semblance of fluctuation, some fundamental truths do not alter: just as the surface of the ocean is constantly in flux, its depths in fact remain unchanged and enduring.
Monographies photo
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Avec ces images de bêtes surprises mais non traquées, c'est une nuit pénétrée, une nuit transfigurée qui s'ouvre devant nous, dans toute la gloire du noir et blanc. A cette vie de nuit nous n'avons normalement pas accès, et encore beaucoup moins aujourd'hui qu'à l'époque de Shiras, où de nombreux territoires étaient encore presque vierges. Ce qui est documenté de la(...)
George Shiras: l'intérieur de la nuit
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Avec ces images de bêtes surprises mais non traquées, c'est une nuit pénétrée, une nuit transfigurée qui s'ouvre devant nous, dans toute la gloire du noir et blanc. A cette vie de nuit nous n'avons normalement pas accès, et encore beaucoup moins aujourd'hui qu'à l'époque de Shiras, où de nombreux territoires étaient encore presque vierges. Ce qui est documenté de la sorte, ce sont certes des comportements et des formes de la vie animale, mais c'est aussi une autre manière d'habiter le monde.
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Nobuyoshi Araki: road
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For this series, Nobuyoshi Araki photographed the same street corner from his second-storey window during daylight hours and through every season of the year. In so doing, he diligently transfers the slow-paced life of a quiet Japanese neighbourhood into image form. The narrative that unfolds is one of schoolchildren walking home alone or in groups, men and women with(...)
Nobuyoshi Araki: road
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For this series, Nobuyoshi Araki photographed the same street corner from his second-storey window during daylight hours and through every season of the year. In so doing, he diligently transfers the slow-paced life of a quiet Japanese neighbourhood into image form. The narrative that unfolds is one of schoolchildren walking home alone or in groups, men and women with office jobs hurrying to work, utility and delivery trucks, mothers with strollers, loitering grandmothers, joggers, bicycles, dogs, umbrellas, and much more. Sometimes the sun shines, or the pavement is wet, while at other times the street is filled with snow. In short, it is a hypnotic portrait of the everyday.
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Photographer Gerry Badger only brought out his camera on overcast days in Berlin between 2007 and 2011. His portrait of the citys back streets and dilapidated spaces is rough, full of refuse and graffiti, and almost completely devoid of human presence. This series of images depicts the forgotten corners of a living city, full of history; a fact that has seemingly been(...)
Gerry Badger: it was a grey day
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Photographer Gerry Badger only brought out his camera on overcast days in Berlin between 2007 and 2011. His portrait of the citys back streets and dilapidated spaces is rough, full of refuse and graffiti, and almost completely devoid of human presence. This series of images depicts the forgotten corners of a living city, full of history; a fact that has seemingly been banished outside the fringes of the frame. What is left is emptiness, broken architecture, neglected parks, vacant lots, discarded things all fading under a metallic, unfeeling sky.
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Marco Citron: urbanism 1.01
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Temporal displacement plays a key role in this attractive series of 40 colour photographs by Marco Citron. Through the use of a specific colour palette, reminiscent of postcards from the 1960s, he creates a nostalgic aura around his subject matter, the architectural landscapes of the Soviet Bloc. Housing blocks, wide plazas, highways on which only Trabants drive, and(...)
Marco Citron: urbanism 1.01
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Temporal displacement plays a key role in this attractive series of 40 colour photographs by Marco Citron. Through the use of a specific colour palette, reminiscent of postcards from the 1960s, he creates a nostalgic aura around his subject matter, the architectural landscapes of the Soviet Bloc. Housing blocks, wide plazas, highways on which only Trabants drive, and monumental governmental edifices comprise these sparsely populated landscapes. They challenge the viewer with their retro ambiguity. Mixing reality and fiction, “it is difficult to know whether Citron is recording some of the planning conceits of the Soviet era, or inventing them,” according to the text by Gerry Badger.
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Architects’ mock-ups typically represent an abstracted, idealistic vision, and their models are generally understood as filtered interpretations of the environment, which tend toward the utopian. For this publication, conceptual artist and photographer Thomas Demand visited the untidy office of SANAA in Tokyo several times, exploring the aggregated environment he found(...)
Thomas Demand : model studies, Koto-ku
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Architects’ mock-ups typically represent an abstracted, idealistic vision, and their models are generally understood as filtered interpretations of the environment, which tend toward the utopian. For this publication, conceptual artist and photographer Thomas Demand visited the untidy office of SANAA in Tokyo several times, exploring the aggregated environment he found there, where paper and discarded cardboard – the thought process of every project – survives in a sedimentary layering of materials. The resulting series of photographs shows an abstracted landscape of architectonic forms, devoid of human scale or reference, yet resonating with the language of creativity.
Monographies photo