2330 Résultats
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livres
livres
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Nicolas Faure : landscape A
Nicolas Faure : landscape A
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$66.00
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Published on the occasion of the exhibition " Nicolas Faure, Landscape A " - Musée de l'Élysée, Lausanne, 17 november 2005 - 5 february 2006. Nicolas Faure has been working on the theme of Swiss landscape since the 1990s, concentrating in particular on the blend between the Traditional and the Modern. The motorway is the meeting point of technology, architecture and a(...)
$66.00
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Published on the occasion of the exhibition " Nicolas Faure, Landscape A " - Musée de l'Élysée, Lausanne, 17 november 2005 - 5 february 2006. Nicolas Faure has been working on the theme of Swiss landscape since the 1990s, concentrating in particular on the blend between the Traditional and the Modern. The motorway is the meeting point of technology, architecture and a(...)
Titre:
Nicolas Faure : landscape A
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$66.00
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Published on the occasion of the exhibition " Nicolas Faure, Landscape A " - Musée de l'Élysée, Lausanne, 17 november 2005 - 5 february 2006. Nicolas Faure has been working on the theme of Swiss landscape since the 1990s, concentrating in particular on the blend between the Traditional and the Modern. The motorway is the meeting point of technology, architecture and a certain concept of Nature, and through his photographs, Faure elicits aspects that characterise Switzerland. A landscape always has a cultural component and landscape is one of the major concerns of Swiss culture. The motorways, which criss-cross the country virtually, divide it. They constitute a whole “new territory”, enlivened by apparently natural but essentially man-made surroundings. These “natural surroundings” are but illusions. These places are the epitome of paradox: built amidst concrete artefacts, they are not accessible to visitors and almost invisible to motorists.
Nicolas Faure : landscape A
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$66.00
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Published on the occasion of the exhibition " Nicolas Faure, Landscape A " - Musée de l'Élysée, Lausanne, 17 november 2005 - 5 february 2006. Nicolas Faure has been working on the theme of Swiss landscape since the 1990s, concentrating in particular on the blend between the Traditional and the Modern. The motorway is the meeting point of technology, architecture and a certain concept of Nature, and through his photographs, Faure elicits aspects that characterise Switzerland. A landscape always has a cultural component and landscape is one of the major concerns of Swiss culture. The motorways, which criss-cross the country virtually, divide it. They constitute a whole “new territory”, enlivened by apparently natural but essentially man-made surroundings. These “natural surroundings” are but illusions. These places are the epitome of paradox: built amidst concrete artefacts, they are not accessible to visitors and almost invisible to motorists.
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livres
livres
Publication:
avril 2006, Göttingen
avril 2006, Göttingen
Sujet:
Monographies photo
Monographies photo
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livres
livres
Titre:
Taiji Matsue : landscapes
Taiji Matsue : landscapes
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Published on the occasion of the exhibition " Taiji Matsue - landscapes " au Museum Schloss Moyland (24.04.2005 to 21.08.2005). The artist is a geologist by training, and his work examines the skin of the earth, with no horizon and no form other than the undulating shapes beneath it and the tracery of roads, buildings, plants and people on it. Matsue observes houses,(...)
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Published on the occasion of the exhibition " Taiji Matsue - landscapes " au Museum Schloss Moyland (24.04.2005 to 21.08.2005). The artist is a geologist by training, and his work examines the skin of the earth, with no horizon and no form other than the undulating shapes beneath it and the tracery of roads, buildings, plants and people on it. Matsue observes houses,(...)
Titre:
Taiji Matsue : landscapes
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Published on the occasion of the exhibition " Taiji Matsue - landscapes " au Museum Schloss Moyland (24.04.2005 to 21.08.2005). The artist is a geologist by training, and his work examines the skin of the earth, with no horizon and no form other than the undulating shapes beneath it and the tracery of roads, buildings, plants and people on it. Matsue observes houses, farms, construction sites, wetlands and cities from perches tens to hundreds of feet above street level. His low-contrast, black-and-white prints are neither spectacular nor picturesque; he refuses to dramatize the moment or the view.
Taiji Matsue : landscapes
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Published on the occasion of the exhibition " Taiji Matsue - landscapes " au Museum Schloss Moyland (24.04.2005 to 21.08.2005). The artist is a geologist by training, and his work examines the skin of the earth, with no horizon and no form other than the undulating shapes beneath it and the tracery of roads, buildings, plants and people on it. Matsue observes houses, farms, construction sites, wetlands and cities from perches tens to hundreds of feet above street level. His low-contrast, black-and-white prints are neither spectacular nor picturesque; he refuses to dramatize the moment or the view.
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livres
livres
Publication:
mars 2006, Bielefeld
mars 2006, Bielefeld
Sujet:
Monographies photo
Monographies photo
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livres
livres
Titre:
Thomas Ruff : m.d.p.n.
Thomas Ruff : m.d.p.n.
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$42.00
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" Shortly after graduating in Bridge and Road Engineering in 1929 and being appointed to the rank of reserve lieutenant, I took a look around my city. There were no patterns to follow—only examples to imitate. The grand extravagant projects were the monopoly of the regime of arrogance and favoritism. A modern fish market was needed to replace the grubby “pietra del pesce”(...)
$42.00
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" Shortly after graduating in Bridge and Road Engineering in 1929 and being appointed to the rank of reserve lieutenant, I took a look around my city. There were no patterns to follow—only examples to imitate. The grand extravagant projects were the monopoly of the regime of arrogance and favoritism. A modern fish market was needed to replace the grubby “pietra del pesce”(...)
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Monographies photo
Monographies photo
Publication:
janvier 2006, Milan
janvier 2006, Milan
Titre:
Thomas Ruff : m.d.p.n.
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$42.00
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" Shortly after graduating in Bridge and Road Engineering in 1929 and being appointed to the rank of reserve lieutenant, I took a look around my city. There were no patterns to follow—only examples to imitate. The grand extravagant projects were the monopoly of the regime of arrogance and favoritism. A modern fish market was needed to replace the grubby “pietra del pesce” on Via Marina. I studied the problem on the spot and visited various other fish markets in Pozzuoli, Milan, Venice, Marseilles, Ostend, Hamburg. " This is how Luigi Cosenza (Naples 1905–1984) describes the genesis of his first project. The Fish Market of Naples—built in 1929 and considered the manifesto of the city’s rational architecture. This book documents the building with series of images produced by Thomas Ruff, a major contemporary artist from Germany, beginning with photos taken in the dazzling light of an early afternoon back in September 2002.
Thomas Ruff : m.d.p.n.
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" Shortly after graduating in Bridge and Road Engineering in 1929 and being appointed to the rank of reserve lieutenant, I took a look around my city. There were no patterns to follow—only examples to imitate. The grand extravagant projects were the monopoly of the regime of arrogance and favoritism. A modern fish market was needed to replace the grubby “pietra del pesce” on Via Marina. I studied the problem on the spot and visited various other fish markets in Pozzuoli, Milan, Venice, Marseilles, Ostend, Hamburg. " This is how Luigi Cosenza (Naples 1905–1984) describes the genesis of his first project. The Fish Market of Naples—built in 1929 and considered the manifesto of the city’s rational architecture. This book documents the building with series of images produced by Thomas Ruff, a major contemporary artist from Germany, beginning with photos taken in the dazzling light of an early afternoon back in September 2002.
Classification:
livres
livres
Publication:
janvier 2006, Milan
janvier 2006, Milan
Sujet:
Monographies photo
Monographies photo
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livres
livres
Prix:
$42.00
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Résumé:
When Marianne Brandt wasn’t designing the beautiful, mass-reproducible metal home furnishings--including lamps and teapots still in production today--with which she and her compatriots revolutionized modern interior space, she was cutting and pasting newly abundant magazines and printed material into these witty, politically and artistically savvy photomontages. Their(...)
$42.00
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When Marianne Brandt wasn’t designing the beautiful, mass-reproducible metal home furnishings--including lamps and teapots still in production today--with which she and her compatriots revolutionized modern interior space, she was cutting and pasting newly abundant magazines and printed material into these witty, politically and artistically savvy photomontages. Their(...)
Titre:
Tempo, tempo : the Bauhaus photomontages of Marianne Brandt
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When Marianne Brandt wasn’t designing the beautiful, mass-reproducible metal home furnishings--including lamps and teapots still in production today--with which she and her compatriots revolutionized modern interior space, she was cutting and pasting newly abundant magazines and printed material into these witty, politically and artistically savvy photomontages. Their full range is investigated, analyzed and illustrated for the first time in Tempo Tempo! a striking portfolio and critical complement to Brandt’s metalwork. She used the technology of the era’s visual culture to denounce that same technology, to re-imagine the roles of women and to challenge pictorial conventions.
Tempo, tempo : the Bauhaus photomontages of Marianne Brandt
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When Marianne Brandt wasn’t designing the beautiful, mass-reproducible metal home furnishings--including lamps and teapots still in production today--with which she and her compatriots revolutionized modern interior space, she was cutting and pasting newly abundant magazines and printed material into these witty, politically and artistically savvy photomontages. Their full range is investigated, analyzed and illustrated for the first time in Tempo Tempo! a striking portfolio and critical complement to Brandt’s metalwork. She used the technology of the era’s visual culture to denounce that same technology, to re-imagine the roles of women and to challenge pictorial conventions.
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livres
livres
Publication:
mars 2006, Berlin
mars 2006, Berlin
Sujet:
Monographies photo
Monographies photo
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livres
livres
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$30.00
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Robert Adams, one of America’s foremost living photographers, has spent decades considering and documenting the landscape of the American West and how it has been altered, disturbed, or destroyed by the hand of man. A professor of English before turning to photography, Adams is also a skilled writer and acute thinker on aesthetic questions. A collection of conversations(...)
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Robert Adams, one of America’s foremost living photographers, has spent decades considering and documenting the landscape of the American West and how it has been altered, disturbed, or destroyed by the hand of man. A professor of English before turning to photography, Adams is also a skilled writer and acute thinker on aesthetic questions. A collection of conversations(...)
Titre:
Along some rivers : photographs and conversations
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Robert Adams, one of America’s foremost living photographers, has spent decades considering and documenting the landscape of the American West and how it has been altered, disturbed, or destroyed by the hand of man. A professor of English before turning to photography, Adams is also a skilled writer and acute thinker on aesthetic questions. A collection of conversations (some previously unpublished) with writers and curators—William McEwan, Constance Sullivan, and Thomas Weski, among others (including a group of his students) offers the artist’s thoughts on a number of his now legendary projects, including "Cottonwoods" and "What we bought". This publication includes a selection of twenty-eight unpublished landscapes. Foreword by Richard B. Woodward.
Along some rivers : photographs and conversations
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Robert Adams, one of America’s foremost living photographers, has spent decades considering and documenting the landscape of the American West and how it has been altered, disturbed, or destroyed by the hand of man. A professor of English before turning to photography, Adams is also a skilled writer and acute thinker on aesthetic questions. A collection of conversations (some previously unpublished) with writers and curators—William McEwan, Constance Sullivan, and Thomas Weski, among others (including a group of his students) offers the artist’s thoughts on a number of his now legendary projects, including "Cottonwoods" and "What we bought". This publication includes a selection of twenty-eight unpublished landscapes. Foreword by Richard B. Woodward.
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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
Prix:
$36.00
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Résumé:
season, Hans van der Meer set out to take a series of football photographs that avoided the clichéd traditions of modern sports photography. In an attempt to record the game in its original form — a field, two goals and 22 players — he sought matches at the bottom end of the amateur leagues, the opposite end of the scale to the Champions' League. And he avoided the(...)
$36.00
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season, Hans van der Meer set out to take a series of football photographs that avoided the clichéd traditions of modern sports photography. In an attempt to record the game in its original form — a field, two goals and 22 players — he sought matches at the bottom end of the amateur leagues, the opposite end of the scale to the Champions' League. And he avoided the(...)
Titre:
European fields : the landscape of lower league football
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season, Hans van der Meer set out to take a series of football photographs that avoided the clichéd traditions of modern sports photography. In an attempt to record the game in its original form — a field, two goals and 22 players — he sought matches at the bottom end of the amateur leagues, the opposite end of the scale to the Champions' League. And he avoided the enclosed environment of the stadium and tight telescopic details and hyperbole of action photography.
European fields : the landscape of lower league football
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season, Hans van der Meer set out to take a series of football photographs that avoided the clichéd traditions of modern sports photography. In an attempt to record the game in its original form — a field, two goals and 22 players — he sought matches at the bottom end of the amateur leagues, the opposite end of the scale to the Champions' League. And he avoided the enclosed environment of the stadium and tight telescopic details and hyperbole of action photography.
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livres
livres
Publication:
juillet 2006, Göttingen
juillet 2006, Göttingen
Sujet:
Monographies photo
Monographies photo
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livres
livres
Prix:
$60.00
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Résumé:
Robbins and Becher produce work that functions as surreal nonfiction, using documentary images to examine contradictions of place and cultural identity. In the words of the artists, “The primary focus of our work is what we call the transportation of place—situations in which one limited or isolated place strongly resembles another distant one. Everywhere, not only in the(...)
$60.00
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Résumé:
Robbins and Becher produce work that functions as surreal nonfiction, using documentary images to examine contradictions of place and cultural identity. In the words of the artists, “The primary focus of our work is what we call the transportation of place—situations in which one limited or isolated place strongly resembles another distant one. Everywhere, not only in the(...)
Titre:
The transportation of place : Andrea Robbins & Max Becher
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Robbins and Becher produce work that functions as surreal nonfiction, using documentary images to examine contradictions of place and cultural identity. In the words of the artists, “The primary focus of our work is what we call the transportation of place—situations in which one limited or isolated place strongly resembles another distant one. Everywhere, not only in the new world, such situations are accumulating and accepted as genuine locales. Traditional notions of place, in which culture and geographic location neatly coincide, are being challenged by legacies of slavery, colonialism, holocaust, immigration, tourism, and mass-communication. Whether the subject is Germany in Africa, Germans dressing as Native Americans, American towns dressed as Germany, New York in Las Vegas, New York in Cuba, or Cuba in exile, our interest tends to be a place out of place with its various causes and consequences.” The work posits vital questions for a globalized world: What are the larger implications of “ideological passing,” when one culture assumes the skin of another? And what role can photography play as a document in context where cultural signification is entirely fluid? Curator and author Maurice Berger examines the work of Robbins and Becher against the background of race and identity, but also of Surrealism. Lucy Lippard discusses the development of the husband-and-wife team’s work together, as well as looking specifically at the ideas of location, landscape, and manufactured place.
The transportation of place : Andrea Robbins & Max Becher
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Robbins and Becher produce work that functions as surreal nonfiction, using documentary images to examine contradictions of place and cultural identity. In the words of the artists, “The primary focus of our work is what we call the transportation of place—situations in which one limited or isolated place strongly resembles another distant one. Everywhere, not only in the new world, such situations are accumulating and accepted as genuine locales. Traditional notions of place, in which culture and geographic location neatly coincide, are being challenged by legacies of slavery, colonialism, holocaust, immigration, tourism, and mass-communication. Whether the subject is Germany in Africa, Germans dressing as Native Americans, American towns dressed as Germany, New York in Las Vegas, New York in Cuba, or Cuba in exile, our interest tends to be a place out of place with its various causes and consequences.” The work posits vital questions for a globalized world: What are the larger implications of “ideological passing,” when one culture assumes the skin of another? And what role can photography play as a document in context where cultural signification is entirely fluid? Curator and author Maurice Berger examines the work of Robbins and Becher against the background of race and identity, but also of Surrealism. Lucy Lippard discusses the development of the husband-and-wife team’s work together, as well as looking specifically at the ideas of location, landscape, and manufactured place.
Classification:
livres
livres
Publication:
mai 2006, New York
mai 2006, New York
Sujet:
Monographies photo
Monographies photo
Classification:
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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Résumé:
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.
Classification:
livres
livres
Publication:
mai 2006, New York
mai 2006, New York
Sujet:
Monographies photo
Monographies photo
Classification:
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(...)
Sujet:
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.
Classification:
livres
livres
Publication:
juin 2006, New York
juin 2006, New York
Sujet:
Monographies photo
Monographies photo
Classification:
livres
livres
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$9.95
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Résumé:
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(...)
Titre:
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.
Classification:
livres
livres
Publication:
octobre 2005
octobre 2005
Sujet:
Monographies photo
Monographies photo
