Stephen Shore : steel town
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In 1977, Stephen Shore travelled across New York state, Pennsylvania, and eastern Ohio – an area in the midst of industrial decline that would eventually be known as the Rust Belt. Shore met steelworkers who had been thrown out of work by plant closures and photographed their suddenly fragile world: deserted factories, lonely bars, dwindling high streets, and lovingly(...)
Stephen Shore : steel town
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In 1977, Stephen Shore travelled across New York state, Pennsylvania, and eastern Ohio – an area in the midst of industrial decline that would eventually be known as the Rust Belt. Shore met steelworkers who had been thrown out of work by plant closures and photographed their suddenly fragile world: deserted factories, lonely bars, dwindling high streets, and lovingly decorated homes. Across these images, a prosperous middle America is seen teetering on the precipice of disastrous decline. Hope and despair alike lurk restlessly behind the surfaces of shop fronts, domestic interiors, and the fraught expressions of those who confront Shore’s 4x5'' view camera. Originally commissioned as an extended photographic report for Fortune Magazine in the vein of Walker Evans, Shore’s multifaceted investigation has only gained political salience in the intervening years. Shore’s subjects – including workers, union leaders, and family members – had voted for Jimmy Carter the year preceding his visit; now he found them disillusioned with the new president, fated to leave behind the Democratic party and become the ‘Reagan Democrats’. Through unfailingly engrossing images by one of the world’s acknowledged masters, Steel Town provides an immersive portrait of a time and place whose significance to our own is ever more urgent.
Monographies photo
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Every day, throughout that tumultuous spring of 2020, Dutch artist Erik Kessels and French artist Thomas Sauvin sent one another idiosyncratic, uncaptioned photographs, catalyzing an organic, free-associative exchange of some 120 archival images. Author Kingston Trinder then composed an equally free-associative, altogether-whimsical narrative with which to further entwine(...)
Talk soon: Erik Kessels and Thomas Sauvin
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Every day, throughout that tumultuous spring of 2020, Dutch artist Erik Kessels and French artist Thomas Sauvin sent one another idiosyncratic, uncaptioned photographs, catalyzing an organic, free-associative exchange of some 120 archival images. Author Kingston Trinder then composed an equally free-associative, altogether-whimsical narrative with which to further entwine the duo’s eclectic photographs. These two archives of vernacular photography, one from the East, the other from the West, achieve a dialogue through the recurrence of photographic practices, aesthetics and subjects.'Talk Soon', a tearaway postcard book with a spiral binding, allows readers to endlessly juxtapose the delightful photographs selected by the two quarantined artists.
Monographies photo
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In Zin Taylor’s ‘Ambient Visions of a Dot’, the artist records a day spent walking around the coastal village of Shimoda, Japan. Captured in black and white, using an old Sony Cyber-shot camera, the high contrast photographs explore a landscape rich with allegorical content. As a process of creation Taylor uses the camera as a skillful travel companion, one that is(...)
Zin Taylor: Ambient visions of a dot
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In Zin Taylor’s ‘Ambient Visions of a Dot’, the artist records a day spent walking around the coastal village of Shimoda, Japan. Captured in black and white, using an old Sony Cyber-shot camera, the high contrast photographs explore a landscape rich with allegorical content. As a process of creation Taylor uses the camera as a skillful travel companion, one that is particularly adept at teasing out the sublimated influences embedded within this bucolic environment. The resulting images, along with a text written by the artist, address the abstract, surreal, uncanny, and sometimes hallucinogenic transformations of one thing into another. A series of ambient visions that document a landscape’s whimsical metamorphosis into a language of chromatic form.
Monographies photo
Islamabad today
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In 1962, the architecture practice Ponti Fornaroli Rosselli was commissioned to design and build part of the Ministries area of the new capital of West Pakistan, Islamabad, which was under construction according to Constantinos Doxiadis and Robert Matthew's master plan. Fifteen hundred architecture drawings and less than two years later, the buildings were completed. At(...)
Islamabad today
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In 1962, the architecture practice Ponti Fornaroli Rosselli was commissioned to design and build part of the Ministries area of the new capital of West Pakistan, Islamabad, which was under construction according to Constantinos Doxiadis and Robert Matthew's master plan. Fifteen hundred architecture drawings and less than two years later, the buildings were completed. At some moments, five thousand workers were on site at the same time. Project manager Alberto Rosselli declared that the idea was not to transfer their Western knowledge to Pakistan, but to create a new Pakistan. Moved by this incredible project, where the personal stories of the Ponti and Rosselli families crossed paths against a backdrop of architectural and political history, Giovanna Silva traveled to Islamabad in 2020 with Paolo Rosselli, nephew of Gio Ponti and son of Alberto Rosselli. Silva's photographs show the buildings in their everyday public function, with a focus on the spaces as performed by their users. The book also features archival images of the building site and construction, and a narrative text by Paolo Rosselli tracing the story of the project and his reactions during his first visit to his father’s work in Islamabad.
Monographies photo
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Originally self-published in 1985, Paul Graham’s renowned series, ‘Beyond Caring’, was made in the waiting rooms and corridors of the Social Security and Unemployment offices around the UK, documenting the long waits, queues and poor conditions of an overburdened system, to produce a powerful series of photographs conveying the hardship people experienced. Denied official(...)
Paul Graham: Beyond caring, New edition
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Originally self-published in 1985, Paul Graham’s renowned series, ‘Beyond Caring’, was made in the waiting rooms and corridors of the Social Security and Unemployment offices around the UK, documenting the long waits, queues and poor conditions of an overburdened system, to produce a powerful series of photographs conveying the hardship people experienced. Denied official permission to make the work, Graham’s photographs were taken discreetly, usually without looking through the camera, resulting in a spatial disorientation that emphasised the unmoored distress of vulnerable citizens. The work shocked many on its release – leading Magnum photographers were outraged by its use of colour in a classic documentary topic, while others celebrated how it straddled the world of activism and art (it was exhibited at both Trade Union conferences and the Museum of Modern Art, New York). Graham forged a fresh form of engaged photography, mixing elements of social documentary, ‘new colour’ and reportage to create a striking body of work that endures to this day. Many decades have passed since their making in 1984, but these images have grown not only in photographic importance, but also as a unique historic record of the mid-1980s unemployment crisis in the UK.
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Silent Blocks
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Au printemps 2020, à Toronto, David Cayley, ancien journaliste scientifique pour la radio publique canadienne et écrivain, s'interroge sur la pandémie. En s'appuyant sur sa connaissance des travaux philosophiques de son ami Ivan illich, il se demande si ' l'ontologie de systèmes' dans laquelle nous vivons n'aurait-elle pas créé cet état de crise ? Il alerte sur une forme(...)
Silent Blocks
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Au printemps 2020, à Toronto, David Cayley, ancien journaliste scientifique pour la radio publique canadienne et écrivain, s'interroge sur la pandémie. En s'appuyant sur sa connaissance des travaux philosophiques de son ami Ivan illich, il se demande si ' l'ontologie de systèmes' dans laquelle nous vivons n'aurait-elle pas créé cet état de crise ? Il alerte sur une forme de négation de la mort, laquelle 'dissimule tout le reste, à savoir l'expérimentation à grande échelle du contrôle social et de l'obéissance sociale, la légitimation de la téléprésence comme mode de sociabilité et d'enseignement, l'accroissement de la surveillance, la normalisation de la biopolitique et le renforcement des mesures préventives comme fondements de la vie sociale. À Paris au printemps de cette même année, avec l'instauration du confinement pour juguler la pandémie du coronavirus, la rue s'est soudainement vidée. Le dispositif sanitaire adossé à un dispositif policier aura permis au pouvoir une montée en régime – sans rencontrer de grande résistance – dans sa politique sécuritaire initiée des années plus tôt avec notamment le plan Vigipirate. Le photographe Myr Muratet a documenté, à sa façon, la ville silencieuse.
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Les bords réels
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La guerre de Bosnie s'est achevée il y a 25 ans et le pays semble plongé dans une léthargie où chacun erre dans son époque et ses croyances. Les morts et les vivants, les vétérans du conflit et la jeunesse née dans ses décombres. La Bosnie ravive les vieux démons, joue avec le feu. Ce n’est plus la guerre, ce n’est pas la paix. Comment traduire en photographie le(...)
Les bords réels
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La guerre de Bosnie s'est achevée il y a 25 ans et le pays semble plongé dans une léthargie où chacun erre dans son époque et ses croyances. Les morts et les vivants, les vétérans du conflit et la jeunesse née dans ses décombres. La Bosnie ravive les vieux démons, joue avec le feu. Ce n’est plus la guerre, ce n’est pas la paix. Comment traduire en photographie le sentiment étrange d’un temps qui n’en finit pas de mourir, la violence sourde qui traverse le pays ? En ce sens, ce travail est un état du temps, plus qu’un état des lieux. « Les Bords réels » est à l’image de la Bosnie aujourd'hui : fragmentaire, fantomatique, déboussolée, vibrante et chaotique à la fois. En investissant ce territoire, ce sont les limites même de sa pratique – la photographie documentaire – qu'Adrien Selbert défie ici.
Monographies photo
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The Milanese photographer and long-distance traveler captures the light (and visual contrasts) of Rome while walking through the city. Giovanna Silva arrived in Rome in January of 2020 and immediately set off walking. Following the suggestions of her personal guides – artists, writers, intellectuals, Romans of all shapes and idioms – she began to get to know the city. She(...)
Giovanna Silva: Roma, never walk on crowded streets
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The Milanese photographer and long-distance traveler captures the light (and visual contrasts) of Rome while walking through the city. Giovanna Silva arrived in Rome in January of 2020 and immediately set off walking. Following the suggestions of her personal guides – artists, writers, intellectuals, Romans of all shapes and idioms – she began to get to know the city. She returned to certain places over and over again, overtaken by meticulous and neurotic attention, moved by an unexpected passion for light. Tucked between her photographs is a text by Alberto Savinio about the magic of walking and discovering a foreign place.
Monographies photo
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Epstein began his latest series in 2017 at Standing Rock, where thousands protested the installation of the Dakota Access Pipeline on Sioux land. Over four years, he charted other contested lands from Pennsylvania and Hawaii to the Mexican border, as well as land loss through wildfires and flooding due to egregious environmental negligence. In keeping with Epstein’s(...)
Mitch Epstein: Property rights
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Epstein began his latest series in 2017 at Standing Rock, where thousands protested the installation of the Dakota Access Pipeline on Sioux land. Over four years, he charted other contested lands from Pennsylvania and Hawaii to the Mexican border, as well as land loss through wildfires and flooding due to egregious environmental negligence. In keeping with Epstein’s 50-year exploration of American life, ''Property rights'' questions the relationship between institutions, civil rights and the rights of nature itself. Acknowledging our bodies and lives as our most fundamental property, the book examines other forms of trespass and destruction in an elegy to the Tree of Life Synagogue massacre, and in photographs of Black Lives Matter protests during COVID-19. ''Property rights'' includes the voices of activists Epstein interviewed while making this deeply personal and political work. In a time of alarming division, the book describes diverse communities in a common fight against politicians and plutocrats willing to sacrifice the people’s well-being.
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Lee Friedlander
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One of the masters of contemporary photography, Lee Friedlander has dedicated his career to the documentation of everyday life in the United States. His images are characterized by a composition that utilizes the urban geometry of storefronts and street signs—and later car windows and telephone poles—as a framing technique. This catalog, published in conjunction with a(...)
Lee Friedlander
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One of the masters of contemporary photography, Lee Friedlander has dedicated his career to the documentation of everyday life in the United States. His images are characterized by a composition that utilizes the urban geometry of storefronts and street signs—and later car windows and telephone poles—as a framing technique. This catalog, published in conjunction with a retrospective organized by the Fundación MAPFRE in Madrid, surveys the wide scope of Friedlander’s career from the 1960s to today. High-quality reproductions of all of the exhibited works are supplemented by text written by curator Carlos Gollonet and photographer Nicholas Nixon. The volume serves as a comprehensive guide to Friedlander’s body of work, with personal insight provided through an interview between Maria Friedlander and gallery director Jeffrey Fraenkel, as well as a chronology of the artist’s life by his grandson Giancarlo T. Roma.
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