2330 Résultats
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Épuisé. Publié à l'occasion de l'exposition Gabor Szilasi L'éloquance du quotidien organisée par le Musée d'art de Joliette et le Musée canadien de la photographie contemporaine.
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Épuisé. Publié à l'occasion de l'exposition Gabor Szilasi L'éloquance du quotidien organisée par le Musée d'art de Joliette et le Musée canadien de la photographie contemporaine.
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Gabor Szilasi: l'éloquence du quotidien
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Épuisé. Publié à l'occasion de l'exposition Gabor Szilasi L'éloquance du quotidien organisée par le Musée d'art de Joliette et le Musée canadien de la photographie contemporaine.
Gabor Szilasi: l'éloquence du quotidien
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Épuisé. Publié à l'occasion de l'exposition Gabor Szilasi L'éloquance du quotidien organisée par le Musée d'art de Joliette et le Musée canadien de la photographie contemporaine.
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livres
livres
Publication:
février 2009
février 2009
Sujet:
Monographies photo
Monographies photo
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livres
livres
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$86.00
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In the 11 days following the Chernobyl catastrophe on April 26, 1986, more than 116,000 people were permanently evacuated from the area surrounding the nuclear power plant. Declared unfit for human habitation, the zones of exclusion includes the towns of Pripyat (established in the 1970s to house workers) and Chernobyl. In May 2001, Robert Polidori photographed what was(...)
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In the 11 days following the Chernobyl catastrophe on April 26, 1986, more than 116,000 people were permanently evacuated from the area surrounding the nuclear power plant. Declared unfit for human habitation, the zones of exclusion includes the towns of Pripyat (established in the 1970s to house workers) and Chernobyl. In May 2001, Robert Polidori photographed what was(...)
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Robert Polidori : zones of exclusion : Pripyat and Chernobyl
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In the 11 days following the Chernobyl catastrophe on April 26, 1986, more than 116,000 people were permanently evacuated from the area surrounding the nuclear power plant. Declared unfit for human habitation, the zones of exclusion includes the towns of Pripyat (established in the 1970s to house workers) and Chernobyl. In May 2001, Robert Polidori photographed what was left behind in the this dead zone. His richly detailed images move from the burned-out control room of reactor 4, where technicians staged the experiment that caused the disaster, to the unfinished apartment complexes, ransacked schools and abandoned nurseries that remain as evidence of those who once called Pripyat home. Nearby, trucks and tanks used in the cleanup efforts rest in an auto graveyard, some covered in lead shrouds and others robbed of parts. Houseboats and barges rust in the contaminated waters of the Pripyat River. Foliage grows over the sidewalks and hides the modest homes of Chernobyl. In his large-scale photographs, Polidori captures the faded colors and desolate atmosphere of these two towns, producing haunting documents that present the reader with a rare view of not just a disastrous event, but a place and the people who lived there.
Robert Polidori : zones of exclusion : Pripyat and Chernobyl
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In the 11 days following the Chernobyl catastrophe on April 26, 1986, more than 116,000 people were permanently evacuated from the area surrounding the nuclear power plant. Declared unfit for human habitation, the zones of exclusion includes the towns of Pripyat (established in the 1970s to house workers) and Chernobyl. In May 2001, Robert Polidori photographed what was left behind in the this dead zone. His richly detailed images move from the burned-out control room of reactor 4, where technicians staged the experiment that caused the disaster, to the unfinished apartment complexes, ransacked schools and abandoned nurseries that remain as evidence of those who once called Pripyat home. Nearby, trucks and tanks used in the cleanup efforts rest in an auto graveyard, some covered in lead shrouds and others robbed of parts. Houseboats and barges rust in the contaminated waters of the Pripyat River. Foliage grows over the sidewalks and hides the modest homes of Chernobyl. In his large-scale photographs, Polidori captures the faded colors and desolate atmosphere of these two towns, producing haunting documents that present the reader with a rare view of not just a disastrous event, but a place and the people who lived there.
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livres
livres
Publication:
août 2003, Göttingen
août 2003, Göttingen
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Monographies photo
Monographies photo
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livres
livres
Titre:
Lee Friedlander : stems
Lee Friedlander : stems
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Lee Friedlander decided to prepare himself for a sedentary life. He began to pursue the still life as a possibility and maybe a way of photographic life--a dramatic shift for a man who has spent his life photographing on the street, in the woods, on the road, at parties, anywhere but sitting down. He tried a variety of subjects with a few good results, but nothing stood(...)
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Lee Friedlander decided to prepare himself for a sedentary life. He began to pursue the still life as a possibility and maybe a way of photographic life--a dramatic shift for a man who has spent his life photographing on the street, in the woods, on the road, at parties, anywhere but sitting down. He tried a variety of subjects with a few good results, but nothing stood(...)
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Lee Friedlander : stems
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Lee Friedlander decided to prepare himself for a sedentary life. He began to pursue the still life as a possibility and maybe a way of photographic life--a dramatic shift for a man who has spent his life photographing on the street, in the woods, on the road, at parties, anywhere but sitting down. He tried a variety of subjects with a few good results, but nothing stood out until he began to look at the fresh flowers that his wife Maria placed around their home in cut-glass vases. But nevermind the flowers. True to Friedlander's style, he very quickly found himself most interested in the stems. During the months of February, May, June and December of 1994, he focused his lens on wild arrays of stems and the optical splendor produced by light refracting through the glass vases that contained them.~In 1998, Friedlander had both of his knees surgically replaced. Three months of recovery time passed during which he took no pictures, the only gap in almost 50 years of working. The next year, successfully rehabilitated and walking without pain, Friedlander decided to re-apply himself to the stems and finish them off as a subject. Published in a lush, oversize volume, printed with a special drytrap process, "Stems" is the result of this unusual saga in the photographer's career.
Lee Friedlander : stems
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Lee Friedlander decided to prepare himself for a sedentary life. He began to pursue the still life as a possibility and maybe a way of photographic life--a dramatic shift for a man who has spent his life photographing on the street, in the woods, on the road, at parties, anywhere but sitting down. He tried a variety of subjects with a few good results, but nothing stood out until he began to look at the fresh flowers that his wife Maria placed around their home in cut-glass vases. But nevermind the flowers. True to Friedlander's style, he very quickly found himself most interested in the stems. During the months of February, May, June and December of 1994, he focused his lens on wild arrays of stems and the optical splendor produced by light refracting through the glass vases that contained them.~In 1998, Friedlander had both of his knees surgically replaced. Three months of recovery time passed during which he took no pictures, the only gap in almost 50 years of working. The next year, successfully rehabilitated and walking without pain, Friedlander decided to re-apply himself to the stems and finish them off as a subject. Published in a lush, oversize volume, printed with a special drytrap process, "Stems" is the result of this unusual saga in the photographer's career.
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livres
livres
Publication:
novembre 2003, New York
novembre 2003, New York
Sujet:
Monographies photo
Monographies photo
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This work accompanies an exhibtion of James' work at the University of Toronto Art Centre. The exhibition features photographs from the past twenty years. Selections from his early panoramas, from his projects on the work of Frederick Law Olmsted, Asbestos mining in Quebec, and the Mexican border at Tijuana, as well as urban images of Paris, Montreal, and Toronto are included.
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This work accompanies an exhibtion of James' work at the University of Toronto Art Centre. The exhibition features photographs from the past twenty years. Selections from his early panoramas, from his projects on the work of Frederick Law Olmsted, Asbestos mining in Quebec, and the Mexican border at Tijuana, as well as urban images of Paris, Montreal, and Toronto are included.
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Geoffrey James : past / present / future
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This work accompanies an exhibtion of James' work at the University of Toronto Art Centre. The exhibition features photographs from the past twenty years. Selections from his early panoramas, from his projects on the work of Frederick Law Olmsted, Asbestos mining in Quebec, and the Mexican border at Tijuana, as well as urban images of Paris, Montreal, and Toronto are included.
Geoffrey James : past / present / future
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This work accompanies an exhibtion of James' work at the University of Toronto Art Centre. The exhibition features photographs from the past twenty years. Selections from his early panoramas, from his projects on the work of Frederick Law Olmsted, Asbestos mining in Quebec, and the Mexican border at Tijuana, as well as urban images of Paris, Montreal, and Toronto are included.
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Publication:
mai 2003, Toronto
mai 2003, Toronto
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Monographies photo
Monographies photo
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Take as a starting point the cover of this book; Anthony Hernandez’s wonderful photograph of square, colourful ceramic tiles could be almost anything you might imagine it to be. A Mondrian-like painting, a random pattern, a city grid, or perhaps the work of an anonymous tile setter, brightening up the facade of a government building in South Central Los Angeles. With the(...)
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Take as a starting point the cover of this book; Anthony Hernandez’s wonderful photograph of square, colourful ceramic tiles could be almost anything you might imagine it to be. A Mondrian-like painting, a random pattern, a city grid, or perhaps the work of an anonymous tile setter, brightening up the facade of a government building in South Central Los Angeles. With the(...)
Titre:
Anthony Hernandez : waiting for Los Angeles
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Take as a starting point the cover of this book; Anthony Hernandez’s wonderful photograph of square, colourful ceramic tiles could be almost anything you might imagine it to be. A Mondrian-like painting, a random pattern, a city grid, or perhaps the work of an anonymous tile setter, brightening up the facade of a government building in South Central Los Angeles. With the passage of time, these vibrant squares have been lost beneath a coat of anti-graffiti paint. Anthony Hernandez is a photographer for whom waiting has long been a theme, with his bus stop pictures in the late 1970s, and his fishing photographs in the 1980s. Hernandez’s vision is both abstract and documentary, and there is a pattern to his work in every sense of that word – whether he is focusing on an empty waiting room, a phone hanging in a booth, or random scribbles etched on a sheet of glass. Hernandez skillfully draws attention to the simple geometric beauty that can be found in even the most utilitarian fence, wall, or window. There is not a soul in sight, but there is a strong sense that someone has been here, and there is enough to grip the attention until, perhaps, they return. With an essay by photographer, writer and critic Allan Sekula.
Anthony Hernandez : waiting for Los Angeles
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Take as a starting point the cover of this book; Anthony Hernandez’s wonderful photograph of square, colourful ceramic tiles could be almost anything you might imagine it to be. A Mondrian-like painting, a random pattern, a city grid, or perhaps the work of an anonymous tile setter, brightening up the facade of a government building in South Central Los Angeles. With the passage of time, these vibrant squares have been lost beneath a coat of anti-graffiti paint. Anthony Hernandez is a photographer for whom waiting has long been a theme, with his bus stop pictures in the late 1970s, and his fishing photographs in the 1980s. Hernandez’s vision is both abstract and documentary, and there is a pattern to his work in every sense of that word – whether he is focusing on an empty waiting room, a phone hanging in a booth, or random scribbles etched on a sheet of glass. Hernandez skillfully draws attention to the simple geometric beauty that can be found in even the most utilitarian fence, wall, or window. There is not a soul in sight, but there is a strong sense that someone has been here, and there is enough to grip the attention until, perhaps, they return. With an essay by photographer, writer and critic Allan Sekula.
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livres
livres
Publication:
décembre 2002, Tucson
décembre 2002, Tucson
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Monographies photo
Monographies photo
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livres
livres
Titre:
Ed Van der Elsken
Ed Van der Elsken
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Ed Van der Elsken (1925-1990.
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Ed Van der Elsken (1925-1990.
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Ed Van der Elsken
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Ed Van der Elsken (1925-1990.
Ed Van der Elsken
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Ed Van der Elsken (1925-1990.
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livres
livres
Publication:
août 2002, Paris
août 2002, Paris
Sujet:
Monographies photo
Monographies photo
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livres
livres
Titre:
Snow : Thomas Flechtner
Snow : Thomas Flechtner
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This elegant book divides the Swiss photographer Thomas Flechtner’s work into four discrete groups, each dealing with a distinct manifestation of snow, its indiscriminate incursions into city and country. Mostly the artist observes and records, but he also uses snow as both his medium and subject. The arresting sequence which begins this book shows tracks left in the(...)
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This elegant book divides the Swiss photographer Thomas Flechtner’s work into four discrete groups, each dealing with a distinct manifestation of snow, its indiscriminate incursions into city and country. Mostly the artist observes and records, but he also uses snow as both his medium and subject. The arresting sequence which begins this book shows tracks left in the(...)
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Snow : Thomas Flechtner
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This elegant book divides the Swiss photographer Thomas Flechtner’s work into four discrete groups, each dealing with a distinct manifestation of snow, its indiscriminate incursions into city and country. Mostly the artist observes and records, but he also uses snow as both his medium and subject. The arresting sequence which begins this book shows tracks left in the snow, lines carved out by walking along the contours of a hillside. Often panoramic diptychs carry the lines from one image to the next. Then there are night views of the same hillsides, the topography this time etched in light. Flechtner would attach lights to his skis and, with his camera set at a distance and for a long exposure, traverse the hillside. The two-dimensional result is, in effect, a kind of “writing” or “drawing” in the snow; three dimensionally it becomes sculptural graphics. Later in the book there are photographs of mountain passes, followed by images of the town La Chaux-de-Fonds. Snow is no longer white, but ultramarine, viridian, turquoise, and violet. Finally, there are views of the ice-impacted seas around Iceland and Greenland.
Snow : Thomas Flechtner
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This elegant book divides the Swiss photographer Thomas Flechtner’s work into four discrete groups, each dealing with a distinct manifestation of snow, its indiscriminate incursions into city and country. Mostly the artist observes and records, but he also uses snow as both his medium and subject. The arresting sequence which begins this book shows tracks left in the snow, lines carved out by walking along the contours of a hillside. Often panoramic diptychs carry the lines from one image to the next. Then there are night views of the same hillsides, the topography this time etched in light. Flechtner would attach lights to his skis and, with his camera set at a distance and for a long exposure, traverse the hillside. The two-dimensional result is, in effect, a kind of “writing” or “drawing” in the snow; three dimensionally it becomes sculptural graphics. Later in the book there are photographs of mountain passes, followed by images of the town La Chaux-de-Fonds. Snow is no longer white, but ultramarine, viridian, turquoise, and violet. Finally, there are views of the ice-impacted seas around Iceland and Greenland.
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livres
livres
Publication:
août 2002, Baden
août 2002, Baden
Sujet:
Monographies photo
Monographies photo
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livres
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Eadweard Muybridge, one of the great pioneer-innovators of the 19th century, is a familiar figure to students of art history, photography, and cinema. Best known for the photographs of horses and other animals in motion that he made in the 1870s and '80s, Muybridge was the first person to use photography to freeze rapid action for analysis and study. He devised a method(...)
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Eadweard Muybridge, one of the great pioneer-innovators of the 19th century, is a familiar figure to students of art history, photography, and cinema. Best known for the photographs of horses and other animals in motion that he made in the 1870s and '80s, Muybridge was the first person to use photography to freeze rapid action for analysis and study. He devised a method(...)
Titre:
Time stands still : Muybridge and the instantaneous photography movement
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Eadweard Muybridge, one of the great pioneer-innovators of the 19th century, is a familiar figure to students of art history, photography, and cinema. Best known for the photographs of horses and other animals in motion that he made in the 1870s and '80s, Muybridge was the first person to use photography to freeze rapid action for analysis and study. He devised a method for photographing episodes of behavior using a series of cameras, producing some of the most famous sequential photographs ever made. These pictures, the first successful photographs of rapidly moving subjects, revolutionized expectations of what photography could reveal about the natural world, and ultimately led to the invention of the motion picture in the mid-1890s. "Time stands still" is the catalogue that accompanies an exhibition celebrating Muybridge's work. Though the instantaneous photography movement stands as a crucial event in the progression of photography to motion pictures, this exhibition represents the first major organized treatment of the subject. Opening in spring 2003 at the Iris and B. Gerald Cantor Center for Visual Arts at Stanford University and touring through 2004, it combines an examination of the artist's career in motion photography with a survey of early attempts to photograph moving subjects.
Time stands still : Muybridge and the instantaneous photography movement
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Eadweard Muybridge, one of the great pioneer-innovators of the 19th century, is a familiar figure to students of art history, photography, and cinema. Best known for the photographs of horses and other animals in motion that he made in the 1870s and '80s, Muybridge was the first person to use photography to freeze rapid action for analysis and study. He devised a method for photographing episodes of behavior using a series of cameras, producing some of the most famous sequential photographs ever made. These pictures, the first successful photographs of rapidly moving subjects, revolutionized expectations of what photography could reveal about the natural world, and ultimately led to the invention of the motion picture in the mid-1890s. "Time stands still" is the catalogue that accompanies an exhibition celebrating Muybridge's work. Though the instantaneous photography movement stands as a crucial event in the progression of photography to motion pictures, this exhibition represents the first major organized treatment of the subject. Opening in spring 2003 at the Iris and B. Gerald Cantor Center for Visual Arts at Stanford University and touring through 2004, it combines an examination of the artist's career in motion photography with a survey of early attempts to photograph moving subjects.
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livres
livres
Publication:
avril 2003, New York
avril 2003, New York
Sujet:
Monographies photo
Monographies photo
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livres
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Photographer Jeff Brouws has crisscrossed the country for two decades, documenting an America that is at once quintessential and peculiar. Readymades is a quirky, multi-layered catalog of this ascendant photographer’s work: partially painted pickup trucks, bowling alley signs, vibrant-hued houses that defy the monotony of the suburbs, abandoned drive-in movie theaters.(...)
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Photographer Jeff Brouws has crisscrossed the country for two decades, documenting an America that is at once quintessential and peculiar. Readymades is a quirky, multi-layered catalog of this ascendant photographer’s work: partially painted pickup trucks, bowling alley signs, vibrant-hued houses that defy the monotony of the suburbs, abandoned drive-in movie theaters.(...)
Publication:
avril 2003, San Francisco
avril 2003, San Francisco
Titre:
Readymades : American roadside artifacts
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Photographer Jeff Brouws has crisscrossed the country for two decades, documenting an America that is at once quintessential and peculiar. Readymades is a quirky, multi-layered catalog of this ascendant photographer’s work: partially painted pickup trucks, bowling alley signs, vibrant-hued houses that defy the monotony of the suburbs, abandoned drive-in movie theaters. Brouws treats his subjects as readymade art found in the landscape, brought together to create an idiosyncratic roadside panorama. Provocative essays by leading writers and cultural commentators such as Luc Sante, DJ Waldie, M. Mark, Diana Gaston, Bruce Caron, and Phil Patton are juxtaposed with these images of all that is unique in the uniform, and striking in the mundane.
Readymades : American roadside artifacts
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Photographer Jeff Brouws has crisscrossed the country for two decades, documenting an America that is at once quintessential and peculiar. Readymades is a quirky, multi-layered catalog of this ascendant photographer’s work: partially painted pickup trucks, bowling alley signs, vibrant-hued houses that defy the monotony of the suburbs, abandoned drive-in movie theaters. Brouws treats his subjects as readymade art found in the landscape, brought together to create an idiosyncratic roadside panorama. Provocative essays by leading writers and cultural commentators such as Luc Sante, DJ Waldie, M. Mark, Diana Gaston, Bruce Caron, and Phil Patton are juxtaposed with these images of all that is unique in the uniform, and striking in the mundane.
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livres
livres
Publication:
avril 2003, San Francisco
avril 2003, San Francisco
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livres
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Between 1949 and 1953, Robert Frank continually returned to Europe from his new home in New York to take photographs in France, Switzerland, Spain, and Great Britain, photographs that show the development of his uniquely humanist, poetic, and realist eye. In 1951 and early 1952, Frank visited London--"I liked the light, I liked the fog."--and set out to photograph the(...)
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Between 1949 and 1953, Robert Frank continually returned to Europe from his new home in New York to take photographs in France, Switzerland, Spain, and Great Britain, photographs that show the development of his uniquely humanist, poetic, and realist eye. In 1951 and early 1952, Frank visited London--"I liked the light, I liked the fog."--and set out to photograph the(...)
Sujet:
Monographies photo
Monographies photo
Publication:
juin 2003, Zurich, Berlin and New York
juin 2003, Zurich, Berlin and New York
Titre:
Robert Frank : London / Wales
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Between 1949 and 1953, Robert Frank continually returned to Europe from his new home in New York to take photographs in France, Switzerland, Spain, and Great Britain, photographs that show the development of his uniquely humanist, poetic, and realist eye. In 1951 and early 1952, Frank visited London--"I liked the light, I liked the fog."--and set out to photograph the unique atmosphere of the city. He followed British financiers around the City, capturing them in their traditional top hats and long coats, creating images that depict them in a poetic dance with their fog-shrouded environment. He shot pictures of workers, men delivering coal, children playing on the streets, people waiting or relaxing in the parks, and images of poverty. In these photographs he juxtaposed money and work, wealth and poverty, creating a dynamic photographic project that has never been shown before in its entirety. Then, in March 1953, before the impending nationalization of the country's coal mines, Frank travelled to the town of Careau, in Wales, to photograph the coal miners whose lives revolved around their work. One miner, Ben James, and his family became the subject of a picture essay (originally published in a 1955 issue of U.S. Camera) in which Frank downplayed the classic modernist photographic moment in favor of a more provocative form that offered informal, revealing glances rather than an official document. In "Robert Frank: London/Wales", Frank returns for the first time to these old negatives. The volume explores a stylistic transformation in his work, a period of development which saw his mode of photography move from an innovative romanticism to a highly charged, metaphorical realism.
Robert Frank : London / Wales
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Between 1949 and 1953, Robert Frank continually returned to Europe from his new home in New York to take photographs in France, Switzerland, Spain, and Great Britain, photographs that show the development of his uniquely humanist, poetic, and realist eye. In 1951 and early 1952, Frank visited London--"I liked the light, I liked the fog."--and set out to photograph the unique atmosphere of the city. He followed British financiers around the City, capturing them in their traditional top hats and long coats, creating images that depict them in a poetic dance with their fog-shrouded environment. He shot pictures of workers, men delivering coal, children playing on the streets, people waiting or relaxing in the parks, and images of poverty. In these photographs he juxtaposed money and work, wealth and poverty, creating a dynamic photographic project that has never been shown before in its entirety. Then, in March 1953, before the impending nationalization of the country's coal mines, Frank travelled to the town of Careau, in Wales, to photograph the coal miners whose lives revolved around their work. One miner, Ben James, and his family became the subject of a picture essay (originally published in a 1955 issue of U.S. Camera) in which Frank downplayed the classic modernist photographic moment in favor of a more provocative form that offered informal, revealing glances rather than an official document. In "Robert Frank: London/Wales", Frank returns for the first time to these old negatives. The volume explores a stylistic transformation in his work, a period of development which saw his mode of photography move from an innovative romanticism to a highly charged, metaphorical realism.
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livres
livres
Publication:
juin 2003, Zurich, Berlin and New York
juin 2003, Zurich, Berlin and New York
Sujet:
Monographies photo
Monographies photo
