Ari Marcopoulos: Sumo Judo
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The series of portraits in this book were made during two trips that Ari Marcopoulos made to Tokyo and Kyoto, in 2013 and 2023 respectively. Despite the informality of the situation in which the subjects are captured, each individual meets the camera’s gaze with a sense of self-assurance and openness that reflects the trust that was quickly gained in each situation. The(...)
Ari Marcopoulos: Sumo Judo
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The series of portraits in this book were made during two trips that Ari Marcopoulos made to Tokyo and Kyoto, in 2013 and 2023 respectively. Despite the informality of the situation in which the subjects are captured, each individual meets the camera’s gaze with a sense of self-assurance and openness that reflects the trust that was quickly gained in each situation. The images reveal the crucial affinity between his camera and the technical skills and athleticism on display – a generous understanding of creativity and technique that goes beyond conventional boundaries and in which the distinction between practicing and performance becomes unimportant.
Monographies photo
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Rooted in the expansive dream-work that shaped Zhao’s creative process, the book emerges from a series of artistic rituals shared between these three collaborators, through which Zhao’s cinematic storytelling, Buckley’s mesmerising writings, and Grzybowska’s haunting photographs were made. Brought together in this book, they conjure a parallel telling of the story of(...)
Monographies photo
décembre 2025
Even as a Shadow, Even as a Dream
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Rooted in the expansive dream-work that shaped Zhao’s creative process, the book emerges from a series of artistic rituals shared between these three collaborators, through which Zhao’s cinematic storytelling, Buckley’s mesmerising writings, and Grzybowska’s haunting photographs were made. Brought together in this book, they conjure a parallel telling of the story of Hamnet, the son of William Shakespeare. "Even as a Shadow, Even as a Dream'' unfolds as a quiet companion to the film: not a document of its making, but a powerful reimagining that exists somewhere in the threshold between the worlds of waking and dreaming, reality and illusion, life and death.
Monographies photo
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When Claude Monet settled in Giverny in 1883, he designed a flower garden full of impressive color compositions for observing light and time. The American artist Sarah Schorr understands Monet’s garden as a creative, living laboratory. Her images in this book were inspired by the movement of water in Monet’s garden – from the tiny teardrops of rain to the steady stream(...)
Sarah Schorr: Ephemeral field journal. Climate and love in Claude Monet's garden
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When Claude Monet settled in Giverny in 1883, he designed a flower garden full of impressive color compositions for observing light and time. The American artist Sarah Schorr understands Monet’s garden as a creative, living laboratory. Her images in this book were inspired by the movement of water in Monet’s garden – from the tiny teardrops of rain to the steady stream feeding the water lily pond. By collecting fallen, injured flowers in Monet’s historic green spaces, Schorr transforms them into striking works of art by bringing them to life with paint, light, paper, water, and photography: experimental still lifes. "Ephemeral Field Journal" is an evocative artist’s journal in which Schorr evokes the fragility of nature and illuminates the complex interplay of climate change, beauty, and loss. On the occasion of the 100th anniversary of Monet’s death, the project will be exhibited internationally in 2025 and 2026.
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"You gotta love it", says 65-year-old Bill Delaney, beauty salesman in the greater Los Angeles area. Yes, you gotta love it. You gotta love the hustle, the getting-up-and-going-out, the repeating sales pitches, the flirting and the haggling; the unending calls, all week, Monday to Sunday, all day, morning till night. You gotta love the dance, the rush, and the territory.(...)
Too Many Products Too Much Pressure
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"You gotta love it", says 65-year-old Bill Delaney, beauty salesman in the greater Los Angeles area. Yes, you gotta love it. You gotta love the hustle, the getting-up-and-going-out, the repeating sales pitches, the flirting and the haggling; the unending calls, all week, Monday to Sunday, all day, morning till night. You gotta love the dance, the rush, and the territory. In 1980, as a young photographer just beginning her MFA in San Francisco and developing a keen interest in documenting labor, Janet Delaney embarked for a week on the job with her soon-to-retire father. The days are long and exhausting, but there is, in the incessant driving, carrying and chatting, a restless, pulsing energy streaming from Delaney’s photographs. Picturing the beauty parlors with a critical distance (she did, after all, grow up in a time of questioning constricted gender roles and capitalist consumer culture), using frontal, wide shots and often harsh flash, Delaney created a witty documentation of a day in the life of a salesman.
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Emily Shur: Sunshine Terrace
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Through the pages of "Sunshine Terrace", it is a strange, askew domesticity that first strikes us. It is the red eyes of a garage gate, a crooked tree growing over patchwork gravel beds, abandoned shopping carts, a strange triangular decoration, like a semblance of an imaginary map that one cannot read. These are the signs to be deciphered of a deliberately emptied(...)
Emily Shur: Sunshine Terrace
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Through the pages of "Sunshine Terrace", it is a strange, askew domesticity that first strikes us. It is the red eyes of a garage gate, a crooked tree growing over patchwork gravel beds, abandoned shopping carts, a strange triangular decoration, like a semblance of an imaginary map that one cannot read. These are the signs to be deciphered of a deliberately emptied residential area, whose human presence remains elusive, but whose inevitable markers we recognize: the stucco and asphalt surfaces, the chain-link fences and bodywork, the bursts of greenery, too. Turning her lens towards her own neighborhood, perched between the expanses of Los Angeles and the San Fernando Valley, Emily Shur adopts the figure of the walking photographer, focusing her gaze on this familiar place in which she precisely frames surfaces, colors and light in a true compositional pleasure, where forms respond to each other with a discreet humor.
Monographies photo
Soft Eyes
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"Soft eyes", the late Henry Wessel once wrote in describing the way he went about looking for photographs, “is a physical sensation. You are not looking for something. You are open, receptive. At some point you are in front of something that you cannot ignore.” In this smart and tender act of homage, Wessel’s photographs (many of them previously unpublished) are combined(...)
Monographies photo
septembre 2025
Soft Eyes
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"Soft eyes", the late Henry Wessel once wrote in describing the way he went about looking for photographs, “is a physical sensation. You are not looking for something. You are open, receptive. At some point you are in front of something that you cannot ignore.” In this smart and tender act of homage, Wessel’s photographs (many of them previously unpublished) are combined with the work of two younger California photographers, Austin Leong and Adrian Martinez, and the resulting work is a surprising exploration of influence as well as a study of the sorts of connective tissue that provide a throughline in photography’s long and fascinating history of lineage. In some sense, "Soft Eyes" is a case of two photographers chasing a dead man’s shadows, but Leong and Martinez are both disciplined and devoted, and Wessel’s shadows are all over his old stomping grounds of Northern and Southern California, eternally pooling in expected and unexpected places and hiding in plain sight under the bleaching California sun.
Monographies photo
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"Mother's Land" is a collection of dioramas, of unscripted scenes in which we see a shifting 2010s China unfold before our eyes. It is, also, the result of a long, introspective journey that led Daniel Lee Postaer in search of a missing part of his identity—the one left behind by his grandparents who, more than fifty years earlier and fleeing the communist regime, could(...)
Daniel Lee Postaer: Mother's land
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"Mother's Land" is a collection of dioramas, of unscripted scenes in which we see a shifting 2010s China unfold before our eyes. It is, also, the result of a long, introspective journey that led Daniel Lee Postaer in search of a missing part of his identity—the one left behind by his grandparents who, more than fifty years earlier and fleeing the communist regime, could take along a daughter, but were forced to abandon another. In search of this "other half," Postaer lived in China in the early 2000s, and returned several times in the second half of the 2010s, becoming a first-hand witness to the country’s contemporary developments. In an all-encompassing portrait of urban China, in large-scale compositions embracing a multitude of characters and scenes, "Mother’s Land" shows us a country in the throes of economic and social transformations.
Monographies photo
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Fille d'aristocrates, Madeleine de Sinéty trouve son émancipation dans la photographie, qui la mène à la rencontre des ailleurs et des autres. À partir des années 1970, elle documente d'un œil sensible les mutations des quartiers de la gare Montparnasse à Paris et de Manhattan à New York, tandis qu'elle réalise un reportage sur les derniers trains à vapeurs, grâce aux(...)
Madeleine de Sinéty : Une vie
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Fille d'aristocrates, Madeleine de Sinéty trouve son émancipation dans la photographie, qui la mène à la rencontre des ailleurs et des autres. À partir des années 1970, elle documente d'un œil sensible les mutations des quartiers de la gare Montparnasse à Paris et de Manhattan à New York, tandis qu'elle réalise un reportage sur les derniers trains à vapeurs, grâce aux liens noués avec des cheminots. La proximité avec ses sujets devient dès lors sa signature. Les milliers d'images de Poilley (1972-1991), son leg majeur, résultent d'une immersion dans le mode de vie de ce village breton, où les paysans joignent encore leur force de travail à celle des bêtes. L'artiste partage le quotidien des familles, aidant aux travaux des champs, son appareil photo au cou. Ses clichés en noir et blanc de Rangeley, dans le Maine, où elle s'installe en 1985, disent encore l'humanité et la tendresse de son regard singulier. À travers 60 images pour nombreuses inédites, cet album offre une plongée dans l'œuvre de la photographe, à laquelle s'entremêle son étonnant parcours de vie.
Monographies photo
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"Incompiuto: The Birth of a Style" is the first and only study—the result of ten years of fieldwork—of a phenomenon frequently discussed in our country and yet still not fully acknowledged: the nationwide presence of buildings and infrastructures of which the implementation has never been completed. The scope of this phenomenon, its spread across the territory and its(...)
Incompiuto: The birth of a style
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"Incompiuto: The Birth of a Style" is the first and only study—the result of ten years of fieldwork—of a phenomenon frequently discussed in our country and yet still not fully acknowledged: the nationwide presence of buildings and infrastructures of which the implementation has never been completed. The scope of this phenomenon, its spread across the territory and its incredible architectural peculiarities together make the Incompiuto the most prominent Italian architectural style since WWII. At least this is the thesis proposed – in a provocative yet faultless manner—by the workgroup of individuals who over recent years have put together thousands of images, sifting through hundreds of reported exemplars throughout the nation, starting out from Sicily before making their way up the peninsula.
Monographies photo
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Depuis bientôt quarante ans Max Armengaud photographie des institutions : l’Opéra de Paris, la Cité du Vatican, le Château de Prague… Son protocole de travail consiste à portraiturer chaque personne travaillant ou résidant dans ladite institution. La Casa de Velázquez occupe une place à part dans son œuvre. Non seulement parce qu’il en fut membre en 1993/94 et réalisa à(...)
Max Armegaud : L'esprit du lieu 1993/94 - 2023/24
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Depuis bientôt quarante ans Max Armengaud photographie des institutions : l’Opéra de Paris, la Cité du Vatican, le Château de Prague… Son protocole de travail consiste à portraiturer chaque personne travaillant ou résidant dans ladite institution. La Casa de Velázquez occupe une place à part dans son œuvre. Non seulement parce qu’il en fut membre en 1993/94 et réalisa à cette occasion un portrait de cette institution, mais surtout parce qu’en 2023/24 il en fit un second, une reprise unique dans le travail de l’artiste.
Monographies photo