Nicola Buonomo: Luoghi
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In his debut monograph, "Luoghi", Nicola Buonomo deepens his engagement with nine familiar places. Ranging from his grandmother's backyard to a sand production facility nearby, these are all within a few kilometers of Nicola’s home in Northern Sicily, Italy. The photographs display a subtly dissonant relationship between man-made infrastructure and the natural world.(...)
Nicola Buonomo: Luoghi
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In his debut monograph, "Luoghi", Nicola Buonomo deepens his engagement with nine familiar places. Ranging from his grandmother's backyard to a sand production facility nearby, these are all within a few kilometers of Nicola’s home in Northern Sicily, Italy. The photographs display a subtly dissonant relationship between man-made infrastructure and the natural world. Nicola first defined a clear perimeter for each area, outside of which he could not photograph. In creating these limitations, he ambitiously sought to exhaust most of the possibilities of his gaze within them- prompting a repetitive style of shooting. Sometimes photographing a single subject many times, Nicola forced himself to find new relationships with what he already knew well. In this attempt to enrich his relationship with the familiar, Nicola’s process became synonymous with the final work.
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BLUR
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"Blur" presents a look at Sandra Brewster’s eponymous series, a body of work exploring memory, movement and diasporic identity. Featuring gel transfer reproductions made from photographs, the book documents the development of Brewster’s photographic techniques and themes since the series began in 2016. An essay by Pamela Edmonds explores how this work challenges(...)
BLUR
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"Blur" presents a look at Sandra Brewster’s eponymous series, a body of work exploring memory, movement and diasporic identity. Featuring gel transfer reproductions made from photographs, the book documents the development of Brewster’s photographic techniques and themes since the series began in 2016. An essay by Pamela Edmonds explores how this work challenges established representations and evokes stories of migration. Blur offers a detailed examination of Brewster’s methods and her engagement with concepts of opacity, resilience and the complexities of black identity.
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Lee Friedlander: Christmas
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Whether or not you celebrated Christmas at some point during the last 70 years, you have no doubt encountered many of the scenes shown here in Lee Friedlander's eclectic black-and-white documentation of the holiday season across America. From city sidewalks to cookie-cutter suburbs, Friedlander captures it all: main street store window displays; plastic nativities on(...)
Lee Friedlander: Christmas
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Whether or not you celebrated Christmas at some point during the last 70 years, you have no doubt encountered many of the scenes shown here in Lee Friedlander's eclectic black-and-white documentation of the holiday season across America. From city sidewalks to cookie-cutter suburbs, Friedlander captures it all: main street store window displays; plastic nativities on snow-covered lawns; inflatable snowglobes and Santa Clauses; questionable St. Nicholas–themed lingerie; oversize or underwhelming Christmas trees; and houses so covered in string lights as to demand nothing short of a miracle from the local power grid. As in all of his work, Friedlander's images of Christmas reflect his own version of the holiday. Is Christmas in America a religious celebration? A commercial precept? A misunderstanding? An indulgent blasphemy? Or all of the above? The only certain thing is that December 25 has provided an opportunity for the people's photographer to hold up a mirror to a flawed, inventive, preoccupied and wonderful society.
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Avec ce septième volet de l’Atlas des Régions Naturelles, Eric Tabuchi et Nelly Monnier poursuivent leur projet au long cours engagé en 2017 : la documentation globale des 450 régions naturelles – ou « pays » – qui composent le territoire français. Une aventure photographique hors normes destinée à se déployer sur plusieurs années, au rythme d’une publication par(...)
ARN Vol.7 : Atlas des régions naturelles
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Avec ce septième volet de l’Atlas des Régions Naturelles, Eric Tabuchi et Nelly Monnier poursuivent leur projet au long cours engagé en 2017 : la documentation globale des 450 régions naturelles – ou « pays » – qui composent le territoire français. Une aventure photographique hors normes destinée à se déployer sur plusieurs années, au rythme d’une publication par semestre. En sillonnant ces petites entités géographiques et culturelles parfois tombées en désuétude face au découpage administratif de l’Hexagone, le duo collecte les éléments visuels de ce qui fonde une région. Ils associent indifféremment les particularismes impulsés par l’homme – architectures traditionnelles, toponymes, esthétiques locales, traces de l’histoire – et les motifs naturels, tels que reliefs, paysages, couleurs, végétation, etc.
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Kanthy Peng: Ground Sea
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Kanthy Peng’s debut artist book, ''Ground Sea'', weaves a visual narrative exploring depression, memory, and loss through 73 photographs. The title takes inspiration from an archaic West Indian term, which anthropologist and feminist Emily Martin used to capture her sensations when observing the Affective Disorder Clinical Rounds, “(Ground-sea is the name) for a swell of(...)
Kanthy Peng: Ground Sea
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Kanthy Peng’s debut artist book, ''Ground Sea'', weaves a visual narrative exploring depression, memory, and loss through 73 photographs. The title takes inspiration from an archaic West Indian term, which anthropologist and feminist Emily Martin used to capture her sensations when observing the Affective Disorder Clinical Rounds, “(Ground-sea is the name) for a swell of the ocean, which occurs in calm weather and without obvious cause, breaking on the shore in heavy roaring billows. A distant storm, out of sight, is often the cause of a ground-sea.” In ''Ground Se'', Peng re-orchestrates photographs spanning over a decade and multiple projects into a new diptych-structured work. The first part, ''Sunset Watchers'', unfolds through black-and-white portraits of three women reenacting a phantom folktale following the 1896 tsunami in Japan—images that also allude to the anxious premonition of those living with depression. Interspersed colored photographs recall Peng’s bodily memory of being bedridden due to illness. The second part, ''Kuafù Chases The Sun'', carries stills from two video works about Peng’s father, who retired from the People’s Liberation Army ten years after his daughter left home. In these images, his body is constantly propelled forward by the cogs of a system, breaking the stagnation of the first part, only to fall into nothingness ultimately.
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Photographer Sean Lotman and his son Tennbo present a collection of collaborative works in which they took photographs of each other with a Polaroid camera and corresponded through letters. The relationship between the two is layered by the multiple exposures of the camera, blending the gaze of the son with the perspective of the child. ‘Puking Rainbows Past and Future’(...)
Puking rainbows past and future
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Photographer Sean Lotman and his son Tennbo present a collection of collaborative works in which they took photographs of each other with a Polaroid camera and corresponded through letters. The relationship between the two is layered by the multiple exposures of the camera, blending the gaze of the son with the perspective of the child. ‘Puking Rainbows Past and Future’ gathers memories of the now that contain both “then” and “now”. The images are reproduced in transparent foil with the same dimensions as Polaroid film, while the codex binding uses the rainbow colours of the book’s title. Extras include an essay by Sean and illustrations by Tennbo.
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Brian Rose: Last stop
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Over the course of a year, Brian Rose set out to photograph all the neighborhoods at the ends of the subway lines in New York City. He had multiple reasons for engaging in such a project, but the strongest was the desire to portray New York as a highly diverse, multi-centered metropolis. Having spent a major part of his career photographing the city through often(...)
Brian Rose: Last stop
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Over the course of a year, Brian Rose set out to photograph all the neighborhoods at the ends of the subway lines in New York City. He had multiple reasons for engaging in such a project, but the strongest was the desire to portray New York as a highly diverse, multi-centered metropolis. Having spent a major part of his career photographing the city through often challenging times – the dichotomy of destruction and creativity of the 1980s, the mortal wounding of 9/11, and the suspended animation of the Covid-19 pandemic – Rose was perhaps uniquely equipped to document the city at this moment of political uncertainty under the increased strain of new arrivals, many of whom are refugees from around the world. For a new generation of New Yorkers, the trains roll on ceaselessly, and despite the title, ''Last Stop'' is not so much about endings as it is about reinvention.
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Eggleston’s vivid photographs transform the ordinary into distinctive, poetic images that eschew fixed meaning. One of the foremost practitioners in the medium’s history, Eggleston is widely considered the father of color photography. He pioneered the use of dye-transfer printing for art photography in the 1970s. The technically advanced process—first developed by Kodak(...)
William Eggleston: The last dyes
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Eggleston’s vivid photographs transform the ordinary into distinctive, poetic images that eschew fixed meaning. One of the foremost practitioners in the medium’s history, Eggleston is widely considered the father of color photography. He pioneered the use of dye-transfer printing for art photography in the 1970s. The technically advanced process—first developed by Kodak in the 1940s—allowed him to achieve the richness of tonal depth and color saturation that he had been searching for. In the early 1990s, Kodak stopped producing the dyes, paper, and film used in the process. With the necessary materials now discontinued, and the bulk of what remained being used for this exhibition, "The last dyes" marks the final presentation of new works completed in this medium.
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"Diane Arbus: Sanctum Sanctorum" brings together forty-five photographs made in private places across New York, New Jersey, California, and London between 1961 and 1971. Through her singular combination of intelligence, charisma, intuition, and courage, Diane Arbus (1923–1971) was frequently invited into personal realms seldom seen by strangers. Though made in intimate(...)
Diane Arbus: Sanctum Sanctorum
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"Diane Arbus: Sanctum Sanctorum" brings together forty-five photographs made in private places across New York, New Jersey, California, and London between 1961 and 1971. Through her singular combination of intelligence, charisma, intuition, and courage, Diane Arbus (1923–1971) was frequently invited into personal realms seldom seen by strangers. Though made in intimate settings, the photographs collected in this volume convey no sense of intrusion or trespass—instead, they reveal an unspoken exchange between photographer and subject, a moment of recognition in which confidences emerge freely and without judgment. Arbus’s desire to know people embraced a vast spectrum of humanity. Her subjects featured in Sanctum Sanctorum include debutantes, nudists, celebrities, aspiring celebrities, socialites, transvestites, babies, widows, circus performers, lovers, female impersonators, and a blind couple in their bedroom. Through a fresh consideration of little-known photographs among works that may be more familiar, this publication invites viewers to discover aspects of even well-known images that have previously gone unnoticed.
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Stan Douglas: Ghostlight
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Since the 1980s, Canadian artist Stan Douglas (born 1960) has created films, installations, photographs and other multidisciplinary projects that address moments of rupture where "history could go one way or the other." Across formats, his images recall things that haunt: unresolved moments, political tumult and violent turning points; plots that retain a hold, however(...)
Stan Douglas: Ghostlight
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Since the 1980s, Canadian artist Stan Douglas (born 1960) has created films, installations, photographs and other multidisciplinary projects that address moments of rupture where "history could go one way or the other." Across formats, his images recall things that haunt: unresolved moments, political tumult and violent turning points; plots that retain a hold, however imperceptible, on the present. His work operates within the genres of cinema, photography and theater to present a point of view that is always staged. Douglas' rigorous explorations of these charged histories show us how to "think historically in the present" and frame contemporary crises in a longer timeline. ''Stan Douglas: Ghostlight'' accompanies the artist’s first survey in the United States in more than twenty years, charting his global influence and innovation across forty works from the 1990s to the present.
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