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Unknown lady in the radiation protection department, puddle, dancing couple in costume, damage to a waste drum, retiree send-off, lead shielding, burnt-out glovebox, scorpion with microchip—these are all captions to photographs of Germany’s first major nuclear research facility. In 1957, professional photographers began to make an on-site record of procedures at the(...)
10% : Das bildarchiv eines kernforschungszentrums betreffend
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Unknown lady in the radiation protection department, puddle, dancing couple in costume, damage to a waste drum, retiree send-off, lead shielding, burnt-out glovebox, scorpion with microchip—these are all captions to photographs of Germany’s first major nuclear research facility. In 1957, professional photographers began to make an on-site record of procedures at the Kernforschungszentrum Karlsruhe (KfK, Karlsruhe Nuclear Research Center). In 2017, the decision was made to digitize ten percent of this image archive. Based on current concerns regarding the whereabouts of contaminated nuclear waste, the publication brings together over thirty perspectives from the fields of art, sociology, politics, and science as well as accounts of people who were directly involved with the facility. ''10%: Concerning the image archive of a nuclear research center'' sets out to delineate and visualize the afterlife of nuclear research. German edition.
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Larry Sultan: The swimmers
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Between 1978 and 1982, in a departure from the collaborative conceptual work that he had become known for, Larry Sultan photographed people learning to swim in public pools in San Francisco. Initially inspired by black-and-white documentary photograhs he found in a Red Cross swimming manual, Sultan soon began exploring an urge to create pictures that were physical,(...)
Larry Sultan: The swimmers
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Between 1978 and 1982, in a departure from the collaborative conceptual work that he had become known for, Larry Sultan photographed people learning to swim in public pools in San Francisco. Initially inspired by black-and-white documentary photograhs he found in a Red Cross swimming manual, Sultan soon began exploring an urge to create pictures that were physical, sensual, immersive, and painterly. The resulting work is saturated with colour and inflected by the unpredictable forms and chance abstractions which emerge through the distorted refractions of the water as a second lens. Often beautiful and regularly unsettling in their ambiguity, the series builds to create a feeling of sensory immersion alive with the fluid and uncertain atmospheres to which Sultan was drawn. This collection presents all the pictures from the series Sultan himself chose and exhibited, and expands to include additional images he marked on contact sheets as well as further selections from his archive which he likely never even reviewed.
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This book collects snapshots of a world unmistakably our own yet equally strange. Made through Thomas Demand’s renowned practice of constructing, photographing, and destroying meticulous paper models, this series captures minor, everyday moments based on iPhone photographs. Viewed together, they are an inventory of traces – signs of consumption, evidence of people just(...)
Thomas Demand: The Dailies, expanded edition
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This book collects snapshots of a world unmistakably our own yet equally strange. Made through Thomas Demand’s renowned practice of constructing, photographing, and destroying meticulous paper models, this series captures minor, everyday moments based on iPhone photographs. Viewed together, they are an inventory of traces – signs of consumption, evidence of people just departed or out of sight, spectres of things left behind. Demand describes the series as a form of Haiku: simple fragments strung together to inspire reflection and help us take stock of our daily lives. Just as they trigger deja vu through their performed, minimal repetition, they ask us to look again, and afresh, to discover an ordinary yet enlightening beauty. This new volume brings together the entirety of Demand’s series to date in an expanded edition interwoven with an extended essay by critic Hal Foster.
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Gessenwiese and Kanigsberg form part of a landscape that has been in a process of constant change since 1946. The overburden from the mining industry created radioactive spoil heaps and lakes that are being rehabilitated by various means: plants growing on Gessenwiese accumulate contaminants from the soil. Textiles are used to slowly dry out the lakes and bind the(...)
Susanne Kriemann: Ge(ssenwiese), K(anigsberg)
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Gessenwiese and Kanigsberg form part of a landscape that has been in a process of constant change since 1946. The overburden from the mining industry created radioactive spoil heaps and lakes that are being rehabilitated by various means: plants growing on Gessenwiese accumulate contaminants from the soil. Textiles are used to slowly dry out the lakes and bind the radioactive dust. The banked mounds are returned to the earth bit by bit. These continual changes to the volumes in the landscape and their afterlife are the conceptual starting point for "G(essenwiese) K(anigsberg)." In recent years, Susanne Kriemann has developed a radically expanded idea of photography that investigates new systems for registering events and geological periods.
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''The outlands,'' a series of photographs taken by Eggleston between 1969 and 1974, establishes the groundbreaking visual themes and lexicon that the artist would continue to develop for decades to come. The work offers a journey through the mythic and evolving American South, seen through the artist’s lens: vibrant colors and a profound sense of nostalgia echo throughout(...)
William Eggleston: The outlands, selected works
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''The outlands,'' a series of photographs taken by Eggleston between 1969 and 1974, establishes the groundbreaking visual themes and lexicon that the artist would continue to develop for decades to come. The work offers a journey through the mythic and evolving American South, seen through the artist’s lens: vibrant colors and a profound sense of nostalgia echo throughout Eggleston’s oeuvre. His motifs of signage, cars, and roadside scenes create an iconography of American vistas that inspired a generation of photographers. With its in-depth selection of images—a wood-paneled station wagon, doors flung open, parked in an expansive rural setting; the artist’s grandmother in the moody interior of their family’s Sumner, Mississippi home—''The outlands'' is emblematic of Eggleston’s dynamic, experimental practice.
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Annette Kelm: Tomato target
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Tomato Target takes a comprehensive look at the unique artistic work of Annette Kelm and the visual idiom she has developed over the course of her career. The publication contextualizes Kelm’s profound practice—that deftly probes the medium of photography and portrays a simultaneously heterogeneous yet decisive use of subjects to signify and act as telling abstractions(...)
Annette Kelm: Tomato target
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Tomato Target takes a comprehensive look at the unique artistic work of Annette Kelm and the visual idiom she has developed over the course of her career. The publication contextualizes Kelm’s profound practice—that deftly probes the medium of photography and portrays a simultaneously heterogeneous yet decisive use of subjects to signify and act as telling abstractions within her visually opulent object worlds. Her photographs show precise, fractious motifs that quote the genre of still life, studio, or architectural photography without fully complying with the conventions that govern these genres Unraveling prominent aspects of her oeuvre, this publication strikes at the history of photography, design, and display as well as scientific elements that continue to reappear within her work—which is at once intellectually astute, concise, and enigmatic.
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After his untimely death at age forty-seven in 2011, Metchewais left behind a wholly original and expansive body of photographic and mixed-media work. At the center of his practice is an extensive Polaroid archive, which addresses a range of themes—including the artist’s body, performative self-portraiture, language, landscapes, and everyday subjects—and served as the(...)
Kimowan Metchewais: A kind of prayer
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After his untimely death at age forty-seven in 2011, Metchewais left behind a wholly original and expansive body of photographic and mixed-media work. At the center of his practice is an extensive Polaroid archive, which addresses a range of themes—including the artist’s body, performative self-portraiture, language, landscapes, and everyday subjects—and served as the source material for works in other media, such as painting and collage. Metchewais’s exquisitely layered works offer a poetic meditation on his connection to home and land, while challenging conventional narratives and representations of Indigeneity. Metchewais was a contemporary artist of stunning originality, and until now, his work has been woefully understudied and underexposed. This volume is a comprehensive overview that showcases this essential artist’s astonishing vision.
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Kristine Potter: Dark waters
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''Dark waters'', Kristine Potter’s second monograph, continues her engagement with the American landscape as a palimpsest for cultural ideologies. In this dark and brooding series, Potter reflects on the Southern Gothic landscape as evoked in the popular imagination of 'murder ballads' from the nineteenth and twentieth centuries. Her seductive, richly detailed(...)
Kristine Potter: Dark waters
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''Dark waters'', Kristine Potter’s second monograph, continues her engagement with the American landscape as a palimpsest for cultural ideologies. In this dark and brooding series, Potter reflects on the Southern Gothic landscape as evoked in the popular imagination of 'murder ballads' from the nineteenth and twentieth centuries. Her seductive, richly detailed black-and-white images channel the setting and characters of these songs, capturing the landscape of the American South, and creating a series of evocative portraits that stand in for the oft-unnamed women at the center of their stories. In the American murder ballad, which has taken on cult appeal and continue to be rerecorded even to this day, the riverscape is frequently the stage of crimes as described in their lyrics. Places like Murder Creek, Bloody Fork, and Deadman’s Pond are haunted by both the victim and perpetrator of violence in the world Potter conjures, reflecting the casual and popular glamorization of violence against women that remains prevalent in today’s cultural landscape.
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In the fall of 1952, Cy Twombly receives a traveling scholarship from the Virginia Museum of Fine Arts and leaves New York for his first trip to Europe and North Africa. He meets up with Robert Rauschenberg in Casablanca, and the two of them travel to Marrakech and the Atlas Mountains, and then to Tangier. They pay a visit to Paul Bowles in Tétouan and go on day trips(...)
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mars 2023
Cy Twombly: Marocco 1952-1953
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In the fall of 1952, Cy Twombly receives a traveling scholarship from the Virginia Museum of Fine Arts and leaves New York for his first trip to Europe and North Africa. He meets up with Robert Rauschenberg in Casablanca, and the two of them travel to Marrakech and the Atlas Mountains, and then to Tangier. They pay a visit to Paul Bowles in Tétouan and go on day trips with him to nearby villages and Roman ruins. Twombly conducts his first and last archaeological excavation there. Upon their return to Rome in February 1953, Twombly studies and sketches the ethnographic objects and tribal artifacts he sees on display in the Museo Nazionale Preistorico Etnografico Luigi Pigorini. These sketches survive in the form of the North African Sketchbooks. Much of the surviving work from this trip consists of photographs taken with a Rolleiflex shared by the artists and sketches made by them, preserved in the archives of the Cy Twombly Foundation and Fondazione Nicola Del Roscio; they provide a unique perspective on Twombly's lesser-known affinity for Africa's Mediterranean shores.
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Michel Butor's 'Description of San Marco' (1963) is an unusual book; an unorthodox intermingling of overheard dialogue from the Venetian square in question, thick descriptions of persons and buildings, along with sober historical information. In the original, each genre of information is assigned a distinct typography of its own, hence interacting like voices in a play.(...)
Description of San Marco by Michel Butor
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Michel Butor's 'Description of San Marco' (1963) is an unusual book; an unorthodox intermingling of overheard dialogue from the Venetian square in question, thick descriptions of persons and buildings, along with sober historical information. In the original, each genre of information is assigned a distinct typography of its own, hence interacting like voices in a play. Six decades later, the artist Giovanna Silva stumbled upon an English translation of the French essayist's queer text in an archive at the New York Public Library. Returning to Venice, she cast her eye to the square and its surrounds, an iconic space at once populated by signs of contemporary life, but also astonishingly unchanged.
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