2355 Résultats
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livres
livres
Titre:
John Divola : three acts
John Divola : three acts
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In 1973, artist John Divola began the first of three highly ambitious and original bodies of work that together form this publication. The Vandalism series comprises black-and-white photographs of interiors of abandoned houses. Entering illegally, Divola spray painted expressive markings in the forms of dots, lines, and grids, creating a series of conceptual gestures that(...)
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In 1973, artist John Divola began the first of three highly ambitious and original bodies of work that together form this publication. The Vandalism series comprises black-and-white photographs of interiors of abandoned houses. Entering illegally, Divola spray painted expressive markings in the forms of dots, lines, and grids, creating a series of conceptual gestures that(...)
Titre:
John Divola : three acts
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In 1973, artist John Divola began the first of three highly ambitious and original bodies of work that together form this publication. The Vandalism series comprises black-and-white photographs of interiors of abandoned houses. Entering illegally, Divola spray painted expressive markings in the forms of dots, lines, and grids, creating a series of conceptual gestures that referenced “action painting” as readily as the graffiti that was fast becoming a cultural phenomenon. The following year, Divola began the Los Angeles International Airport Noise Abatement series, photographing a condemned neighborhood bought out by the airport to serve as a noise buffer for new runways.An extensive catalog of break-ins, the photographs record the evidence of violent entries: shattered windows, doors torn from hinges, a crowbar resting in the jamb of a door pried open. The final installment in this book, the Zuma series, is the artist’s documentation of the destruction of an abandoned beachfront property. While employing similar strategies of painting and intervention, the Zuma images add variation and complexity to Divola’s established themes as they incorporate color, elements of nature, and meditation on change. These cyclical images skillfully juxtapose romantic skies and sunsets with a seaside structure that, frame by frame, deteriorates into ruin as it is vandalized by the artist and others who eventually set it on fire. Divola’s art practice shares a tradition with conceptual artists such as Bruce Nauman, whose photographs are considered to be performance or sculpture, and Robert Smithson, who used photography to investigate the built environment.
John Divola : three acts
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In 1973, artist John Divola began the first of three highly ambitious and original bodies of work that together form this publication. The Vandalism series comprises black-and-white photographs of interiors of abandoned houses. Entering illegally, Divola spray painted expressive markings in the forms of dots, lines, and grids, creating a series of conceptual gestures that referenced “action painting” as readily as the graffiti that was fast becoming a cultural phenomenon. The following year, Divola began the Los Angeles International Airport Noise Abatement series, photographing a condemned neighborhood bought out by the airport to serve as a noise buffer for new runways.An extensive catalog of break-ins, the photographs record the evidence of violent entries: shattered windows, doors torn from hinges, a crowbar resting in the jamb of a door pried open. The final installment in this book, the Zuma series, is the artist’s documentation of the destruction of an abandoned beachfront property. While employing similar strategies of painting and intervention, the Zuma images add variation and complexity to Divola’s established themes as they incorporate color, elements of nature, and meditation on change. These cyclical images skillfully juxtapose romantic skies and sunsets with a seaside structure that, frame by frame, deteriorates into ruin as it is vandalized by the artist and others who eventually set it on fire. Divola’s art practice shares a tradition with conceptual artists such as Bruce Nauman, whose photographs are considered to be performance or sculpture, and Robert Smithson, who used photography to investigate the built environment.
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livres
livres
Publication:
mai 2006, New York
mai 2006, New York
Sujet:
Monographies photo
Monographies photo
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livres
livres
Titre:
William Christenberry
William Christenberry
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Since the early 1960s, William Christenberry has plumbed the regional identity of the American South, focusing his attention on Hale County, Alabama, from which he hails. Although Christenberry is most often associated with and recognized as a pioneer in the field of American color photography, his vision is multifaceted and rendered through an unorthodox mix of media(...)
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Since the early 1960s, William Christenberry has plumbed the regional identity of the American South, focusing his attention on Hale County, Alabama, from which he hails. Although Christenberry is most often associated with and recognized as a pioneer in the field of American color photography, his vision is multifaceted and rendered through an unorthodox mix of media(...)
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Monographies photo
Monographies photo
Publication:
juin 2006, New York
juin 2006, New York
Titre:
William Christenberry
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Since the early 1960s, William Christenberry has plumbed the regional identity of the American South, focusing his attention on Hale County, Alabama, from which he hails. Although Christenberry is most often associated with and recognized as a pioneer in the field of American color photography, his vision is multifaceted and rendered through an unorthodox mix of media that includes sculpture, drawing, painting, and found-object assemblage. Christenberry’s theme, however, is singular : the history, the very story of place, is at the heart of his project. Christenberry’s poetic documentation of vernacular architecture, signage, and landscape captures moments of quiet beauty in a sometimes mythic terrain that, with its iconography and buildings turned ramshackle. Since relocating to Washington, D.C., in 1968, Christenberry has dutifully returned to photograph the same locations annually - the green barn, the palmist building, the Bar-B-Q Inn, among others - fulfilling a personal ritual and documenting the physical changes wrought by the passing of a year. With a foreword by Elizabeth Brou.
William Christenberry
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Since the early 1960s, William Christenberry has plumbed the regional identity of the American South, focusing his attention on Hale County, Alabama, from which he hails. Although Christenberry is most often associated with and recognized as a pioneer in the field of American color photography, his vision is multifaceted and rendered through an unorthodox mix of media that includes sculpture, drawing, painting, and found-object assemblage. Christenberry’s theme, however, is singular : the history, the very story of place, is at the heart of his project. Christenberry’s poetic documentation of vernacular architecture, signage, and landscape captures moments of quiet beauty in a sometimes mythic terrain that, with its iconography and buildings turned ramshackle. Since relocating to Washington, D.C., in 1968, Christenberry has dutifully returned to photograph the same locations annually - the green barn, the palmist building, the Bar-B-Q Inn, among others - fulfilling a personal ritual and documenting the physical changes wrought by the passing of a year. With a foreword by Elizabeth Brou.
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livres
livres
Publication:
juin 2006, New York
juin 2006, New York
Sujet:
Monographies photo
Monographies photo
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livres
livres
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The Irving Oil Company has long played an important role in the economic and cultural landscape of Eastern Canada. Its holdings, ranging from the country's largest refinery to the western hemisphere's first deep-water terminal, also include the ubiquitous Irving gas station. Thaddeus Howlonia, with his trademark panoramic photography, has documented dozens of these(...)
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The Irving Oil Company has long played an important role in the economic and cultural landscape of Eastern Canada. Its holdings, ranging from the country's largest refinery to the western hemisphere's first deep-water terminal, also include the ubiquitous Irving gas station. Thaddeus Howlonia, with his trademark panoramic photography, has documented dozens of these(...)
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Thaddeus Holownia: Station, Irving
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The Irving Oil Company has long played an important role in the economic and cultural landscape of Eastern Canada. Its holdings, ranging from the country's largest refinery to the western hemisphere's first deep-water terminal, also include the ubiquitous Irving gas station. Thaddeus Howlonia, with his trademark panoramic photography, has documented dozens of these structures over twenty five years, often photographing the same station years apart. His work reveals the complex interaction these boxy modernist structures with their material clutter have with a region known for its traditional, picturesque vernacular.
Thaddeus Holownia: Station, Irving
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The Irving Oil Company has long played an important role in the economic and cultural landscape of Eastern Canada. Its holdings, ranging from the country's largest refinery to the western hemisphere's first deep-water terminal, also include the ubiquitous Irving gas station. Thaddeus Howlonia, with his trademark panoramic photography, has documented dozens of these structures over twenty five years, often photographing the same station years apart. His work reveals the complex interaction these boxy modernist structures with their material clutter have with a region known for its traditional, picturesque vernacular.
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livres
livres
Publication:
octobre 2005
octobre 2005
Sujet:
Monographies photo
Monographies photo
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livres
livres
Titre:
Günter Forg : Compostela
Günter Forg : Compostela
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The project conceived by this German artist, who is an admirer of depurated architectures, focuses on the architecture designed by Alvaro Siza to shelter the Faculty of Sciences of Communication. When installing his photographs at the Centro Galego de Arte Contemporanea, Forg stages a mirror-window interaction, which stretches the initial concept (Siza's faculty) to the(...)
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The project conceived by this German artist, who is an admirer of depurated architectures, focuses on the architecture designed by Alvaro Siza to shelter the Faculty of Sciences of Communication. When installing his photographs at the Centro Galego de Arte Contemporanea, Forg stages a mirror-window interaction, which stretches the initial concept (Siza's faculty) to the(...)
Sujet:
Monographies photo
Monographies photo
Publication:
décembre 2004, Santiago de Compostela
décembre 2004, Santiago de Compostela
Titre:
Günter Forg : Compostela
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The project conceived by this German artist, who is an admirer of depurated architectures, focuses on the architecture designed by Alvaro Siza to shelter the Faculty of Sciences of Communication. When installing his photographs at the Centro Galego de Arte Contemporanea, Forg stages a mirror-window interaction, which stretches the initial concept (Siza's faculty) to the exhibition rooms in the CGAC. The installation drags the visitor to vertigo by proposing a reflection on the plane and space, on our concepts of two-dimensionality and three-dimensionality, on the transposition of the spatial over the temporal.
Günter Forg : Compostela
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The project conceived by this German artist, who is an admirer of depurated architectures, focuses on the architecture designed by Alvaro Siza to shelter the Faculty of Sciences of Communication. When installing his photographs at the Centro Galego de Arte Contemporanea, Forg stages a mirror-window interaction, which stretches the initial concept (Siza's faculty) to the exhibition rooms in the CGAC. The installation drags the visitor to vertigo by proposing a reflection on the plane and space, on our concepts of two-dimensionality and three-dimensionality, on the transposition of the spatial over the temporal.
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livres
livres
Publication:
décembre 2004, Santiago de Compostela
décembre 2004, Santiago de Compostela
Sujet:
Monographies photo
Monographies photo
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livres
livres
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Taking three years to complete, this complex study extends on Hiller's interests in exploring historical events that are visually and emotionally compelling. Presented here is an installation that contained both video and photographic works documenting every street in Germany whose name contains a reference to Jews. The result is a collection of images that are compelling(...)
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Taking three years to complete, this complex study extends on Hiller's interests in exploring historical events that are visually and emotionally compelling. Presented here is an installation that contained both video and photographic works documenting every street in Germany whose name contains a reference to Jews. The result is a collection of images that are compelling(...)
Titre:
Susan Hiller : the J. street project
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Taking three years to complete, this complex study extends on Hiller's interests in exploring historical events that are visually and emotionally compelling. Presented here is an installation that contained both video and photographic works documenting every street in Germany whose name contains a reference to Jews. The result is a collection of images that are compelling in their feeling of sadness and absence that they provoke.
Susan Hiller : the J. street project
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Taking three years to complete, this complex study extends on Hiller's interests in exploring historical events that are visually and emotionally compelling. Presented here is an installation that contained both video and photographic works documenting every street in Germany whose name contains a reference to Jews. The result is a collection of images that are compelling in their feeling of sadness and absence that they provoke.
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livres
livres
Publication:
octobre 2006, Warwickshire, Berlin
octobre 2006, Warwickshire, Berlin
Sujet:
Monographies photo
Monographies photo
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livres
livres
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$31.50
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How exactly has San Francisco's urban landscape changed in the hundred years since the earthquake and cataclysmic firestorms that destroyed three-quarters of the city in 1906? For this rephotography project, bringing past and present into dynamic juxtaposition, photographer Mark Klett has gone to the same locations pictured in forty-five historic photographs taken in the(...)
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Résumé:
How exactly has San Francisco's urban landscape changed in the hundred years since the earthquake and cataclysmic firestorms that destroyed three-quarters of the city in 1906? For this rephotography project, bringing past and present into dynamic juxtaposition, photographer Mark Klett has gone to the same locations pictured in forty-five historic photographs taken in the(...)
Sujet:
Monographies photo
Monographies photo
Publication:
mars 2006, San Francisco
mars 2006, San Francisco
Titre:
After the ruins 1906 and 2006 : rephotographing the San Francisco earthquake and fire
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How exactly has San Francisco's urban landscape changed in the hundred years since the earthquake and cataclysmic firestorms that destroyed three-quarters of the city in 1906? For this rephotography project, bringing past and present into dynamic juxtaposition, photographer Mark Klett has gone to the same locations pictured in forty-five historic photographs taken in the days following the 1906 earthquake and fires and precisely duplicated each photograph's vantage point. The result is a comparison that challenges our preconceptions about time, history, and culture. This publication accompanies an exhibition at The Fine Arts Museums of San Francisco. After the Ruins, 1906 and 2006 features a vivid essay by noted environmental historian Philip Fradkin on the events surrounding and following the 1906 earthquake, which he describes as "the equivalent of an intensive, three-day bombing raid, complete with many tons of dynamite that acted as incendiary devices." A lyrical essay by acclaimed writer Rebecca Solnit considers the meaning of ruins, resurrection, and the evolving geography and history of San Francisco.
After the ruins 1906 and 2006 : rephotographing the San Francisco earthquake and fire
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$31.50
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Résumé:
How exactly has San Francisco's urban landscape changed in the hundred years since the earthquake and cataclysmic firestorms that destroyed three-quarters of the city in 1906? For this rephotography project, bringing past and present into dynamic juxtaposition, photographer Mark Klett has gone to the same locations pictured in forty-five historic photographs taken in the days following the 1906 earthquake and fires and precisely duplicated each photograph's vantage point. The result is a comparison that challenges our preconceptions about time, history, and culture. This publication accompanies an exhibition at The Fine Arts Museums of San Francisco. After the Ruins, 1906 and 2006 features a vivid essay by noted environmental historian Philip Fradkin on the events surrounding and following the 1906 earthquake, which he describes as "the equivalent of an intensive, three-day bombing raid, complete with many tons of dynamite that acted as incendiary devices." A lyrical essay by acclaimed writer Rebecca Solnit considers the meaning of ruins, resurrection, and the evolving geography and history of San Francisco.
Classification:
livres
livres
Publication:
mars 2006, San Francisco
mars 2006, San Francisco
Sujet:
Monographies photo
Monographies photo
Classification:
livres
livres
Prix:
$46.95
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Résumé:
Rudy Burckhardt (1914 – 1999) came to New York in 1935 from his native Switzerland, making the American metropolis his home for the rest of his life. His street scenes now rank among the icons of twentieth-century photography. In the 1950s, he took portraits of artists for Art News, such as Willem de Kooning, Jackson Pollock, or Mark Rothko.
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Rudy Burckhardt (1914 – 1999) came to New York in 1935 from his native Switzerland, making the American metropolis his home for the rest of his life. His street scenes now rank among the icons of twentieth-century photography. In the 1950s, he took portraits of artists for Art News, such as Willem de Kooning, Jackson Pollock, or Mark Rothko.
Sujet:
Monographies photo
Monographies photo
Publication:
décembre 2005, Zürich
décembre 2005, Zürich
Titre:
Rudy Burckhardt : New York moments - photographs and films
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Rudy Burckhardt (1914 – 1999) came to New York in 1935 from his native Switzerland, making the American metropolis his home for the rest of his life. His street scenes now rank among the icons of twentieth-century photography. In the 1950s, he took portraits of artists for Art News, such as Willem de Kooning, Jackson Pollock, or Mark Rothko.
Rudy Burckhardt : New York moments - photographs and films
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Rudy Burckhardt (1914 – 1999) came to New York in 1935 from his native Switzerland, making the American metropolis his home for the rest of his life. His street scenes now rank among the icons of twentieth-century photography. In the 1950s, he took portraits of artists for Art News, such as Willem de Kooning, Jackson Pollock, or Mark Rothko.
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livres
livres
Publication:
décembre 2005, Zürich
décembre 2005, Zürich
Sujet:
Monographies photo
Monographies photo
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livres
livres
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$56.50
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Near the homes of photographers John Willis and Tom Young is a paper mill that sits in the otherwise pristine and picturesque climes of western Massachusetts. For Willis and Young, this site is one of both aesthetic and philosophical contradictions : despite its verdant locale, the mill—with its ominous smoke stacks and countless bales of discarded paper—brings to mind(...)
$56.50
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Near the homes of photographers John Willis and Tom Young is a paper mill that sits in the otherwise pristine and picturesque climes of western Massachusetts. For Willis and Young, this site is one of both aesthetic and philosophical contradictions : despite its verdant locale, the mill—with its ominous smoke stacks and countless bales of discarded paper—brings to mind(...)
Sujet:
Monographies photo
Monographies photo
Publication:
mars 2006, Santa Fe
mars 2006, Santa Fe
Titre:
Recycled realities : John Willis and Tom Young
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Near the homes of photographers John Willis and Tom Young is a paper mill that sits in the otherwise pristine and picturesque climes of western Massachusetts. For Willis and Young, this site is one of both aesthetic and philosophical contradictions : despite its verdant locale, the mill—with its ominous smoke stacks and countless bales of discarded paper—brings to mind the dreariness of industrialization and the impermanence of life itself. But the factory is actually one where such litter is reborn as reusable paper. Willis and Young’s stunning black-and-white images, collected in this unforgettable volume, transform this mill and the innumerable mounds of recyclable waste it processes daily into an indelible and evocative landscape. "Recycled realities" is not a jeremiad foretelling the consequences of excessive waste, rampant pollution, or unbridled consumption, but rather a profound meditation on the hidden meanings and connections that linger beneath the debris and detritus of everyday life. These astonishing and often surreal photos of discarded paper from the printed world trace the processes of emergence, revelation, and redemption that make the cycle of life possible. In their photographs, Willis and Young take that which we have discarded and create new forms of being in and of themselves: vibrant and ultimately life-affirming portraits of who we are as people and the realities that we constantly build—and rebuild—all around us.
Recycled realities : John Willis and Tom Young
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$56.50
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Near the homes of photographers John Willis and Tom Young is a paper mill that sits in the otherwise pristine and picturesque climes of western Massachusetts. For Willis and Young, this site is one of both aesthetic and philosophical contradictions : despite its verdant locale, the mill—with its ominous smoke stacks and countless bales of discarded paper—brings to mind the dreariness of industrialization and the impermanence of life itself. But the factory is actually one where such litter is reborn as reusable paper. Willis and Young’s stunning black-and-white images, collected in this unforgettable volume, transform this mill and the innumerable mounds of recyclable waste it processes daily into an indelible and evocative landscape. "Recycled realities" is not a jeremiad foretelling the consequences of excessive waste, rampant pollution, or unbridled consumption, but rather a profound meditation on the hidden meanings and connections that linger beneath the debris and detritus of everyday life. These astonishing and often surreal photos of discarded paper from the printed world trace the processes of emergence, revelation, and redemption that make the cycle of life possible. In their photographs, Willis and Young take that which we have discarded and create new forms of being in and of themselves: vibrant and ultimately life-affirming portraits of who we are as people and the realities that we constantly build—and rebuild—all around us.
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livres
livres
Publication:
mars 2006, Santa Fe
mars 2006, Santa Fe
Sujet:
Monographies photo
Monographies photo
Classification:
livres
livres
Titre:
William Frederking At home
William Frederking At home
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$37.95
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In striking black-and-white still-life portraits, Frederking captures the small and large elements that define the spirit of his home, as well as revealing why the home is at the heart of the American dream.
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In striking black-and-white still-life portraits, Frederking captures the small and large elements that define the spirit of his home, as well as revealing why the home is at the heart of the American dream.
Sujet:
Monographies photo
Monographies photo
Publication:
mars 2006, Santa Fe / Staunton
mars 2006, Santa Fe / Staunton
Titre:
William Frederking At home
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In striking black-and-white still-life portraits, Frederking captures the small and large elements that define the spirit of his home, as well as revealing why the home is at the heart of the American dream.
William Frederking At home
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In striking black-and-white still-life portraits, Frederking captures the small and large elements that define the spirit of his home, as well as revealing why the home is at the heart of the American dream.
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livres
livres
Publication:
mars 2006, Santa Fe / Staunton
mars 2006, Santa Fe / Staunton
Sujet:
Monographies photo
Monographies photo
Classification:
livres
livres
Titre:
Surfaces américaines
Surfaces américaines
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Constitué en majorité de clichés inédits datant de 1972 et 1973, Surfaces américaines donna une nouvelle dimension à la photographie documentaire. Présenté pour la première fois à la Light Gallery de New York, ce journal visuel de Stephen Shore à travers les Etats-Unis déconcerta la critique. Ses centaines d'images en couleur, traitées en toute simplicité au laboratoire(...)
$69.95
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Résumé:
Constitué en majorité de clichés inédits datant de 1972 et 1973, Surfaces américaines donna une nouvelle dimension à la photographie documentaire. Présenté pour la première fois à la Light Gallery de New York, ce journal visuel de Stephen Shore à travers les Etats-Unis déconcerta la critique. Ses centaines d'images en couleur, traitées en toute simplicité au laboratoire(...)
Titre:
Surfaces américaines
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Constitué en majorité de clichés inédits datant de 1972 et 1973, Surfaces américaines donna une nouvelle dimension à la photographie documentaire. Présenté pour la première fois à la Light Gallery de New York, ce journal visuel de Stephen Shore à travers les Etats-Unis déconcerta la critique. Ses centaines d'images en couleur, traitées en toute simplicité au laboratoire Kodak du New Jersey, contrastaient vivement avec les tirages noir et blanc formels représentatifs de la photographie artistique de l'époque. En dépit d'un accueil peu favorable, l'exposition fut reprise dans son intégralité par Weston Naef, conservateur de la photographie au Metropolitan Museum de New York qui accueille aujourd'hui 220 de ses photographies. Surfaces américaines est depuis ce jour une référence incontournable en matière de description de notre univers consumériste. Marchant sur les traces de Walker Evans et de Robert Frank lorsqu'ils traversèrent eux-mêmes les Etats-Unis, ce corpus artistique ne cesse d'influence de jeunes photographes. Ce livre réuni la plus grande collection d'images de cette série et les présente pour la première fois dans l'ordre chronologique. Surfaces américaines retrace l'extraordinaire périple de Stephen Shore, qui se rendit d'abord dans le Sud profond des Etats-Unis avant de suivre la Route 66 de Flagstaff à Chicago et de revenir à New York afin de poursuivre son journal visuel dans sa ville natale.
Surfaces américaines
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Résumé:
Constitué en majorité de clichés inédits datant de 1972 et 1973, Surfaces américaines donna une nouvelle dimension à la photographie documentaire. Présenté pour la première fois à la Light Gallery de New York, ce journal visuel de Stephen Shore à travers les Etats-Unis déconcerta la critique. Ses centaines d'images en couleur, traitées en toute simplicité au laboratoire Kodak du New Jersey, contrastaient vivement avec les tirages noir et blanc formels représentatifs de la photographie artistique de l'époque. En dépit d'un accueil peu favorable, l'exposition fut reprise dans son intégralité par Weston Naef, conservateur de la photographie au Metropolitan Museum de New York qui accueille aujourd'hui 220 de ses photographies. Surfaces américaines est depuis ce jour une référence incontournable en matière de description de notre univers consumériste. Marchant sur les traces de Walker Evans et de Robert Frank lorsqu'ils traversèrent eux-mêmes les Etats-Unis, ce corpus artistique ne cesse d'influence de jeunes photographes. Ce livre réuni la plus grande collection d'images de cette série et les présente pour la première fois dans l'ordre chronologique. Surfaces américaines retrace l'extraordinaire périple de Stephen Shore, qui se rendit d'abord dans le Sud profond des Etats-Unis avant de suivre la Route 66 de Flagstaff à Chicago et de revenir à New York afin de poursuivre son journal visuel dans sa ville natale.
Classification:
livres
livres
Publication:
janvier 2006, Paris
janvier 2006, Paris
Sujet:
Monographies photo
Monographies photo
