Florian Maier-Aichen
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Florian Maier-Aichen's photographs portray the natural, industrial and cultural landscape with stylized eccentricity. By using the tropes of documentary photography in unconventional ways, Maier-Aichen creates sublime images rich with reference and allusion. His photographs of the California coast, the Alps and other tourist destinations are openly beautiful and seductive(...)
Florian Maier-Aichen
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Florian Maier-Aichen's photographs portray the natural, industrial and cultural landscape with stylized eccentricity. By using the tropes of documentary photography in unconventional ways, Maier-Aichen creates sublime images rich with reference and allusion. His photographs of the California coast, the Alps and other tourist destinations are openly beautiful and seductive in their rich hues and expansive viewpoints. However, these and other images of melting cathedrals, failed industry and tragic ghost ships are nuanced with a subtle disquiet and ensuing criticality. Born in Stuttgart, Germany, and educated at the University of California, Los Angeles, Maier-Aichen begins with a traditional large-format image that he captures on film. He then applies a myriad of creative adjustments to each component that become building blocks for intricate and layered compositions. This succinct paperback contains color reproductions of new and recent works, documentary images of Maier-Aichen's process, and an essay by MOCA curator Rebecca Morse.
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Peter Friedl : playgrounds
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Since 1995 Peter Friedl has been photographing public playgrounds from around the world and compiling them alphabetically by reference to the names of the places. Friedl’s conceptual photography project engages at a discursive level with themes of socio-history, design, and urbanism. It makes no claim to being a comprehensive typology but is instead a narrative study in(...)
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septembre 2007, Göttingen
Peter Friedl : playgrounds
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Since 1995 Peter Friedl has been photographing public playgrounds from around the world and compiling them alphabetically by reference to the names of the places. Friedl’s conceptual photography project engages at a discursive level with themes of socio-history, design, and urbanism. It makes no claim to being a comprehensive typology but is instead a narrative study in which the photographed playgrounds are as important as those not shown in his photographs. This is a story of the world told through the prism of its playgrounds.
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James Welling : flowers
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This concise and beautiful exhibition catalogue features arresting, colorful, Rorschach Test-like photograms of flowers by the Los Angeles-based conceptual photographer James Welling. For this series, Welling placed the blossoms of a common southern California plant on sheets of 8x10 film and exposed them to light. The negatives were then projected onto special photo(...)
James Welling : flowers
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This concise and beautiful exhibition catalogue features arresting, colorful, Rorschach Test-like photograms of flowers by the Los Angeles-based conceptual photographer James Welling. For this series, Welling placed the blossoms of a common southern California plant on sheets of 8x10 film and exposed them to light. The negatives were then projected onto special photo paper through a color mural enlarger and color filters, to produce the dramatic, spectral, almost sun - or moon - dappled images reproduced here. Currently a professor of fine art at UCLA, Welling studied at CalArts in the early 1970s. Welling was the subject of a midcareer retrospective at the Wexner Center for the Arts in 2000, which traveled to the Museum of Contemporary Art in Los Angeles. He is represented in New York by David Zwirner Gallery and in Los Angeles by Regen Projects.
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Robert Adams : turning back
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"Turning back: a photographic journal of re-exploration" is published to coincide with the bicentennial of the Lewis and Clark expedition. The narrative begins at the Pacific ocean and moves eastward through what was formerly one of the world’s great rain forests. Photographs at the center of the book report on the forest’s destruction. Elsewhere they trace a search for(...)
Robert Adams : turning back
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"Turning back: a photographic journal of re-exploration" is published to coincide with the bicentennial of the Lewis and Clark expedition. The narrative begins at the Pacific ocean and moves eastward through what was formerly one of the world’s great rain forests. Photographs at the center of the book report on the forest’s destruction. Elsewhere they trace a search for hope. Two hundred years ago, Lewis and Clark reported finding in the American Northwest a vast forest of ancient evergreens. In "Turning back", Robert Adams looks again at the region’s trees, discovering evidence both of America’s failure and of a continuing promise. President Jefferson’s primary charge to Lewis and Clark was to prepare the way for American commerce. Today, historians still speculate about why, upon his return, Lewis lapsed into depression and apparently committed suicide. "Going east," Adams suggests, "was more difficult than going west." So then, what is the future? "Turning back" documents two kinds of predictive evidence. On the one hand we observe the results of greed so unrestrained that they are indistinguishable from those of nihilism. On the other we see what still lives, whether by our design or neglect, or Providence; in these 164 pictures the tone is celebratory, as in a prayer book. From coastal landscapes populated with tourists to timber clear-cutting and small family farms in eastern Oregon, here we reflect on what was lost, what is retained, and what we value both regionally and as a people with a common history.
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Friedlander
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Lee Friedlander is one of the most important of the 1960s generation of photographers for whom the posture of disinterested objectivity served as a vehicle for passionate personal inquiries. His large body of work - he most often produces extended series of pictures on a chosen theme, then publishes them in book form - is broad in subject matter and supple and complex in(...)
Friedlander
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Lee Friedlander is one of the most important of the 1960s generation of photographers for whom the posture of disinterested objectivity served as a vehicle for passionate personal inquiries. His large body of work - he most often produces extended series of pictures on a chosen theme, then publishes them in book form - is broad in subject matter and supple and complex in style, and focuses on what he calls America's "social landscape". At the same time, he has pursued a playful dialogue with artistic tradition - as though open-eyed curiosity about the world and a sophisticated taste for the wiles of picture-making were one and the same thing. "Friedlander" takes a deep critical look at Friedlander's abundantly productive career. Including over 500 photographs grouped by series, and an incisive essay by Peter Galassi, Chief Curator of Photography at The Museum of Modern Art, this oversized publication is the most comprehensive review of the photographer's career to date.
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Landscape stories
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"Landscape stories" is the fist comprehensive collection of Southam's work drawn from three completed series : The Pond at Upton Pyne, The Red River, and Rockfalls, Rivermouths, and Ponds, along with several smaller groups of pictures, from series still in the making and never before published. Southam's own brief narratives about the places and processes he captures,(...)
Landscape stories
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"Landscape stories" is the fist comprehensive collection of Southam's work drawn from three completed series : The Pond at Upton Pyne, The Red River, and Rockfalls, Rivermouths, and Ponds, along with several smaller groups of pictures, from series still in the making and never before published. Southam's own brief narratives about the places and processes he captures, together with essays by photo historians Gerry Badger and Andy Grundberg, create a rich context for contemplating these landscape series.
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En finir
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«En 1988, une banque américaine m'a invitée à réaliser un projet insitu. Les distributeurs automatiques de l'établissement étaient munis de caméras vidéo qui filmaient, à leur insu, les clients en train d'effectuer des opérations. J'ai réussi à me procurer certains enregistrements.(...) En finir retrace l'histoire de cette recherche, analyse quinze années de tentatives(...)
En finir
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«En 1988, une banque américaine m'a invitée à réaliser un projet insitu. Les distributeurs automatiques de l'établissement étaient munis de caméras vidéo qui filmaient, à leur insu, les clients en train d'effectuer des opérations. J'ai réussi à me procurer certains enregistrements.(...) En finir retrace l'histoire de cette recherche, analyse quinze années de tentatives ratées, dessine l'anatomie d'un échec.» -Sophie Calle
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livres
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This catalogue of seemingly casual gestures often creates an impact that can be considered deliberate, almost political, as it presents a sort of occupation of spaces, albeit prefabricated and temporary. "What we want" is a compelling project of photographs, accounts and maps that describe an urban geography modified by new pioneers.
What we want : landscape as a projection of people's desire
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This catalogue of seemingly casual gestures often creates an impact that can be considered deliberate, almost political, as it presents a sort of occupation of spaces, albeit prefabricated and temporary. "What we want" is a compelling project of photographs, accounts and maps that describe an urban geography modified by new pioneers.
livres
février 2005, Milano
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livres
W(est) B(ank)
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W(est) B(ank) réuni le plus récent travail de Sophie Ristelhueber, une série d'images sur le paysage ravagé des territoires occupés.
W(est) B(ank)
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W(est) B(ank) réuni le plus récent travail de Sophie Ristelhueber, une série d'images sur le paysage ravagé des territoires occupés.
livres
mars 2005, Paris
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livres
Glass house
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"'Glass House', which documents a squatters' community on New York's Lower East Side, is Margaret Morton's fourth book about the makeshift homes built by the city's homeless population. Since 1989, Morton has honed her skills photographing, interviewing, and presenting the compelling stories of people living on the margins of society. Her commitment and passionate(...)
Glass house
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"'Glass House', which documents a squatters' community on New York's Lower East Side, is Margaret Morton's fourth book about the makeshift homes built by the city's homeless population. Since 1989, Morton has honed her skills photographing, interviewing, and presenting the compelling stories of people living on the margins of society. Her commitment and passionate advocacy justifies comparison with Jacob Riis, the great nineteenth-century photographer and social reformer." – Bonnie Yochelson
livres
novembre 2004, Pennsylvania
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