433 Résultats
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''Tropical reading: photobook and self-publishing'' illustrates the photography practitioners and artist collectives from each city in Southeast Asia, examining why they chose to get into self-publishing. It explores how independent art bookstores came to be the social parlours of the self-publishing crowd. Furthermore, observes how the outsider artists, archives and arts(...)
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''Tropical reading: photobook and self-publishing'' illustrates the photography practitioners and artist collectives from each city in Southeast Asia, examining why they chose to get into self-publishing. It explores how independent art bookstores came to be the social parlours of the self-publishing crowd. Furthermore, observes how the outsider artists, archives and arts(...)
Titre:
Tropical reading: photobook and self-publishing
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''Tropical reading: photobook and self-publishing'' illustrates the photography practitioners and artist collectives from each city in Southeast Asia, examining why they chose to get into self-publishing. It explores how independent art bookstores came to be the social parlours of the self-publishing crowd. Furthermore, observes how the outsider artists, archives and arts initiatives of Southeast Asia came to shape the face of photography and self-publishing in their respective cities. The index is a compilation of our project field research, condensing the profiles of all the interviewees – from people to bookstores to organisations – to make a kind of alternative Yellow Pages for the Southeast Asian art scene.
Tropical reading: photobook and self-publishing
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''Tropical reading: photobook and self-publishing'' illustrates the photography practitioners and artist collectives from each city in Southeast Asia, examining why they chose to get into self-publishing. It explores how independent art bookstores came to be the social parlours of the self-publishing crowd. Furthermore, observes how the outsider artists, archives and arts initiatives of Southeast Asia came to shape the face of photography and self-publishing in their respective cities. The index is a compilation of our project field research, condensing the profiles of all the interviewees – from people to bookstores to organisations – to make a kind of alternative Yellow Pages for the Southeast Asian art scene.
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livres
livres
Publication:
juin 2024
juin 2024
Sujet:
Théorie de la photographie
Théorie de la photographie
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livres
livres
Titre:
Those twenties
Those twenties
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The two Essen-based photographers Petra Wittmar and Ulrich Deimel have been considered top league German architecture photographers since their participation in the Venice Architecture Biennale in 1996. Their latest chosen task has been a documentary photographic presentation of architecture from the period between the wars in North-Rhine Westphalia. Important master(...)
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The two Essen-based photographers Petra Wittmar and Ulrich Deimel have been considered top league German architecture photographers since their participation in the Venice Architecture Biennale in 1996. Their latest chosen task has been a documentary photographic presentation of architecture from the period between the wars in North-Rhine Westphalia. Important master(...)
Sujet:
Théorie de la photographie
Théorie de la photographie
Publication:
juillet 2003, Ostfildern-Ruit
juillet 2003, Ostfildern-Ruit
Titre:
Those twenties
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The two Essen-based photographers Petra Wittmar and Ulrich Deimel have been considered top league German architecture photographers since their participation in the Venice Architecture Biennale in 1996. Their latest chosen task has been a documentary photographic presentation of architecture from the period between the wars in North-Rhine Westphalia. Important master builders such as Dominikus Böhm, Fritz Schupp, Peter Behrens or Bruno Paul created structures in the Rhine-Ruhr area. The mine building Zollverein by Schupp/Kremer at Essen can hardly be matched for its functionalist austerity and aesthetic homogeneity, the elegance of the Disch house by Bruno Paul in Cologne has set standards. The photographers also discovered and payed tribute to a number of unknown master pieces, presenting an assembly of portraits of architecture from this era, with characteristic and often surprising details.
Those twenties
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The two Essen-based photographers Petra Wittmar and Ulrich Deimel have been considered top league German architecture photographers since their participation in the Venice Architecture Biennale in 1996. Their latest chosen task has been a documentary photographic presentation of architecture from the period between the wars in North-Rhine Westphalia. Important master builders such as Dominikus Böhm, Fritz Schupp, Peter Behrens or Bruno Paul created structures in the Rhine-Ruhr area. The mine building Zollverein by Schupp/Kremer at Essen can hardly be matched for its functionalist austerity and aesthetic homogeneity, the elegance of the Disch house by Bruno Paul in Cologne has set standards. The photographers also discovered and payed tribute to a number of unknown master pieces, presenting an assembly of portraits of architecture from this era, with characteristic and often surprising details.
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livres
livres
Publication:
juillet 2003, Ostfildern-Ruit
juillet 2003, Ostfildern-Ruit
Sujet:
Théorie de la photographie
Théorie de la photographie
Classification:
livres
livres
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$63.00
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In 1976, critic Nancy Foote wrote that "for every photographer who clamors to make it as an artist, there is an artist running a grave risk of turning into a photographer." Traversing the fine line between artists who are photographers and artists who use photography, "The Last Picture Show" traces the development of conceptual trends in postwar photographic practice from(...)
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In 1976, critic Nancy Foote wrote that "for every photographer who clamors to make it as an artist, there is an artist running a grave risk of turning into a photographer." Traversing the fine line between artists who are photographers and artists who use photography, "The Last Picture Show" traces the development of conceptual trends in postwar photographic practice from(...)
Titre:
The last picture show : artists using photography 1960 - 1982
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In 1976, critic Nancy Foote wrote that "for every photographer who clamors to make it as an artist, there is an artist running a grave risk of turning into a photographer." Traversing the fine line between artists who are photographers and artists who use photography, "The Last Picture Show" traces the development of conceptual trends in postwar photographic practice from their first glimmerings in the 1960's in the work of artists such as Bernd and Hilla Becher, Bruce Nauman, and Edward Ruscha to their rise to art world prominence in the work of the Picture Theory artists of the late 1970's and early 1980's, including Silvia Kolbowski, Richard Prince, and Cindy Sherman. Intended as a major genealogy of the rise of a still-powerful and evolving photographic practice by artists, the exhibition catalogue includes a wide array of works by Vito Acconci, John Baldessari, Gilbert & George, Yves Klein, Barbara Kruger, Gordon Matta-Clark, Charles Ray, Jeff Wall, Andy Warhol, William Wegman, and others.
The last picture show : artists using photography 1960 - 1982
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In 1976, critic Nancy Foote wrote that "for every photographer who clamors to make it as an artist, there is an artist running a grave risk of turning into a photographer." Traversing the fine line between artists who are photographers and artists who use photography, "The Last Picture Show" traces the development of conceptual trends in postwar photographic practice from their first glimmerings in the 1960's in the work of artists such as Bernd and Hilla Becher, Bruce Nauman, and Edward Ruscha to their rise to art world prominence in the work of the Picture Theory artists of the late 1970's and early 1980's, including Silvia Kolbowski, Richard Prince, and Cindy Sherman. Intended as a major genealogy of the rise of a still-powerful and evolving photographic practice by artists, the exhibition catalogue includes a wide array of works by Vito Acconci, John Baldessari, Gilbert & George, Yves Klein, Barbara Kruger, Gordon Matta-Clark, Charles Ray, Jeff Wall, Andy Warhol, William Wegman, and others.
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livres
livres
Publication:
novembre 2003, Minneapolis
novembre 2003, Minneapolis
Sujet:
Théorie de la photographie
Théorie de la photographie
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livres
livres
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$115.95
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Le 7 janvier 1839, le physicien François Arago, lors d'une séance de l'Académie des sciences de Paris, présente un nouveau procédé permettant de reproduire de manière mécanique et chimique, sans intervention manuelle, les images qui se forment dans la chambre obscure : le daguerréotype, marquant ainsi la naissance officielle de la photographie. Image unique, sur plaque(...)
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Le 7 janvier 1839, le physicien François Arago, lors d'une séance de l'Académie des sciences de Paris, présente un nouveau procédé permettant de reproduire de manière mécanique et chimique, sans intervention manuelle, les images qui se forment dans la chambre obscure : le daguerréotype, marquant ainsi la naissance officielle de la photographie. Image unique, sur plaque(...)
Sujet:
Théorie de la photographie
Théorie de la photographie
Publication:
mai 2003, Paris
mai 2003, Paris
Titre:
Le daguerréotype français : un objet photographique
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Le 7 janvier 1839, le physicien François Arago, lors d'une séance de l'Académie des sciences de Paris, présente un nouveau procédé permettant de reproduire de manière mécanique et chimique, sans intervention manuelle, les images qui se forment dans la chambre obscure : le daguerréotype, marquant ainsi la naissance officielle de la photographie. Image unique, sur plaque de cuivre recouverte d'argent, aux reflets changeants, polie, et souvent réfléchissante comme un miroir, l'invention de Daguerre devait définitivement modifier le regard posé sur le monde et ses représentations, artistiques comme scientifiques. C'est bien cet un art nouveau au milieu d'une vieille civilisation », selon les propres termes du savant Gay-Lussac en 1839, que l'exposition et cet ouvrage entendent faire découvrir en s'attachant à la production française, dans toute sa diversité.
Le daguerréotype français : un objet photographique
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Le 7 janvier 1839, le physicien François Arago, lors d'une séance de l'Académie des sciences de Paris, présente un nouveau procédé permettant de reproduire de manière mécanique et chimique, sans intervention manuelle, les images qui se forment dans la chambre obscure : le daguerréotype, marquant ainsi la naissance officielle de la photographie. Image unique, sur plaque de cuivre recouverte d'argent, aux reflets changeants, polie, et souvent réfléchissante comme un miroir, l'invention de Daguerre devait définitivement modifier le regard posé sur le monde et ses représentations, artistiques comme scientifiques. C'est bien cet un art nouveau au milieu d'une vieille civilisation », selon les propres termes du savant Gay-Lussac en 1839, que l'exposition et cet ouvrage entendent faire découvrir en s'attachant à la production française, dans toute sa diversité.
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livres
livres
Publication:
mai 2003, Paris
mai 2003, Paris
Sujet:
Théorie de la photographie
Théorie de la photographie
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livres
livres
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Moving the critical debate about photography away from its current Euro-American centre of gravity, "Photography’s Other Histories" breaks with the notion that photographic history is best seen as the explosion of a Western technology advanced by the work of singular individuals. This collection presents a different account, describing photography as a globally(...)
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Résumé:
Moving the critical debate about photography away from its current Euro-American centre of gravity, "Photography’s Other Histories" breaks with the notion that photographic history is best seen as the explosion of a Western technology advanced by the work of singular individuals. This collection presents a different account, describing photography as a globally(...)
Sujet:
Théorie de la photographie
Théorie de la photographie
Publication:
mars 2003, Durham, N.C.
mars 2003, Durham, N.C.
Titre:
Photography's other histories
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Moving the critical debate about photography away from its current Euro-American centre of gravity, "Photography’s Other Histories" breaks with the notion that photographic history is best seen as the explosion of a Western technology advanced by the work of singular individuals. This collection presents a different account, describing photography as a globally disseminated and locally appropriated medium. Essays firmly grounded in photographic practice — in the actual making of pictures — suggest the extraordinary diversity of nonwestern photography "Photography’s Other Histories" explores from a variety of geographic, cultural, and historic perspectives the role of photography in raising historical consciousness. It includes two first-person pieces by indigenous Australians and one by a Seminole/Muskogee/Diné artist. Some of the essays analyze representations of colonial subjects—from the limited ways Westerners have depicted Navajos to Japanese photos recording the occupation of Manchuria and from the changing nature of the "contract" between Aboriginal subjects and photographers to the surprising range of cultural influences evident in the photographs colonialist F. R. Barton took in New Guinea in the late 1800s and early 1900s. Focusing on photographic self-fashioning and the development of vernacular modernisms, other essays highlight the visionary quality of much popular photography. Case studies centered in early-twentieth-century Peru and contemporary India, Kenya, and Nigeria chronicle the diverse practices that have flourished in postcolonial societies. "Photography’s Other Histories" recasts popular photography around the world, as not simply reproducing culture but creating it.
Photography's other histories
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Moving the critical debate about photography away from its current Euro-American centre of gravity, "Photography’s Other Histories" breaks with the notion that photographic history is best seen as the explosion of a Western technology advanced by the work of singular individuals. This collection presents a different account, describing photography as a globally disseminated and locally appropriated medium. Essays firmly grounded in photographic practice — in the actual making of pictures — suggest the extraordinary diversity of nonwestern photography "Photography’s Other Histories" explores from a variety of geographic, cultural, and historic perspectives the role of photography in raising historical consciousness. It includes two first-person pieces by indigenous Australians and one by a Seminole/Muskogee/Diné artist. Some of the essays analyze representations of colonial subjects—from the limited ways Westerners have depicted Navajos to Japanese photos recording the occupation of Manchuria and from the changing nature of the "contract" between Aboriginal subjects and photographers to the surprising range of cultural influences evident in the photographs colonialist F. R. Barton took in New Guinea in the late 1800s and early 1900s. Focusing on photographic self-fashioning and the development of vernacular modernisms, other essays highlight the visionary quality of much popular photography. Case studies centered in early-twentieth-century Peru and contemporary India, Kenya, and Nigeria chronicle the diverse practices that have flourished in postcolonial societies. "Photography’s Other Histories" recasts popular photography around the world, as not simply reproducing culture but creating it.
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livres
livres
Publication:
mars 2003, Durham, N.C.
mars 2003, Durham, N.C.
Sujet:
Théorie de la photographie
Théorie de la photographie
Classification:
livres
livres
Titre:
Art and photography
Art and photography
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"Art and Photography" is the first book of its kind to survey the major presence of photography in artistic practice from the 1960s onwards. Today photography is art's pre-eminent medium, yet it took the whole of the last century for it to acquire this status. On its invention, the photograph was considered a purely mechanical, artless object which could not be considered(...)
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"Art and Photography" is the first book of its kind to survey the major presence of photography in artistic practice from the 1960s onwards. Today photography is art's pre-eminent medium, yet it took the whole of the last century for it to acquire this status. On its invention, the photograph was considered a purely mechanical, artless object which could not be considered(...)
Titre:
Art and photography
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"Art and Photography" is the first book of its kind to survey the major presence of photography in artistic practice from the 1960s onwards. Today photography is art's pre-eminent medium, yet it took the whole of the last century for it to acquire this status. On its invention, the photograph was considered a purely mechanical, artless object which could not be considered among the fine arts. Despite its increasing use by the century's most significant artists, only since the late 1960s have art museums gradually begun to exhibit and acquire the photograph as an artwork. This volume provides an authoritative overview of photography's place in recent art history, contextualised in the Documents section by original artists statements and interviews, and texts by leading critics, writers and theorists of the late twentieth century.
Art and photography
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$115.00
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"Art and Photography" is the first book of its kind to survey the major presence of photography in artistic practice from the 1960s onwards. Today photography is art's pre-eminent medium, yet it took the whole of the last century for it to acquire this status. On its invention, the photograph was considered a purely mechanical, artless object which could not be considered among the fine arts. Despite its increasing use by the century's most significant artists, only since the late 1960s have art museums gradually begun to exhibit and acquire the photograph as an artwork. This volume provides an authoritative overview of photography's place in recent art history, contextualised in the Documents section by original artists statements and interviews, and texts by leading critics, writers and theorists of the late twentieth century.
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livres
livres
Publication:
août 2003, London
août 2003, London
Sujet:
Théorie de la photographie
Théorie de la photographie
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livres
livres
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$49.95
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In "Faking Death", Penny Cousineau-Levine presents Canadian art photography since 1952 as a coherent body of work and articulates a provocative framework for its interpretation. Contrasting Canadian photography with American and European traditions, she shows that Canadian photographers are often preoccupied with a place that is "elsewhere," a doubling and a duality that(...)
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In "Faking Death", Penny Cousineau-Levine presents Canadian art photography since 1952 as a coherent body of work and articulates a provocative framework for its interpretation. Contrasting Canadian photography with American and European traditions, she shows that Canadian photographers are often preoccupied with a place that is "elsewhere," a doubling and a duality that(...)
Sujet:
Théorie de la photographie
Théorie de la photographie
Publication:
janvier 1900, Montreal and Kingston
janvier 1900, Montreal and Kingston
Titre:
Faking death : Canadian art photography and the Canadian imagination
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In "Faking Death", Penny Cousineau-Levine presents Canadian art photography since 1952 as a coherent body of work and articulates a provocative framework for its interpretation. Contrasting Canadian photography with American and European traditions, she shows that Canadian photographers are often preoccupied with a place that is "elsewhere," a doubling and a duality that also occur in Canadian literature, film, and political life. Exploring the ambivalent preoccupations Canadian photographers have with death and dying, bondage and entrapment, she argues that the forms of death depicted in the works are 'faked' and express a collective Canadian wish for a symbolic passage to national maturity. Penny Cousineau-Levine discusses the works of over 120 artists. The book includes 16 colour reproductions and 150 duotones of photographs by artists such as Raymonde April, Geneviève Cadieux, Lynne Cohen, Donigan Cumming, Evergon, Janieta Eyre, Charles Gagnon, Thaddeus Holownia, Geoffrey James, Michel Lambeth, Ken Lum, Shelley Niro, Gabor Szilasi, Diana Thorneycroft, Jeff Wall, Ian Wallace, and Jin-me Yoon.
Faking death : Canadian art photography and the Canadian imagination
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In "Faking Death", Penny Cousineau-Levine presents Canadian art photography since 1952 as a coherent body of work and articulates a provocative framework for its interpretation. Contrasting Canadian photography with American and European traditions, she shows that Canadian photographers are often preoccupied with a place that is "elsewhere," a doubling and a duality that also occur in Canadian literature, film, and political life. Exploring the ambivalent preoccupations Canadian photographers have with death and dying, bondage and entrapment, she argues that the forms of death depicted in the works are 'faked' and express a collective Canadian wish for a symbolic passage to national maturity. Penny Cousineau-Levine discusses the works of over 120 artists. The book includes 16 colour reproductions and 150 duotones of photographs by artists such as Raymonde April, Geneviève Cadieux, Lynne Cohen, Donigan Cumming, Evergon, Janieta Eyre, Charles Gagnon, Thaddeus Holownia, Geoffrey James, Michel Lambeth, Ken Lum, Shelley Niro, Gabor Szilasi, Diana Thorneycroft, Jeff Wall, Ian Wallace, and Jin-me Yoon.
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livres
livres
Publication:
janvier 1900, Montreal and Kingston
janvier 1900, Montreal and Kingston
Sujet:
Théorie de la photographie
Théorie de la photographie
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livres
livres
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$24.95
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Résumé:
L'auteur vous invite à explorer les limites et les avancées des cinquante premières années en photographie et montre aussi comment certains des plus grands photographes de l'époque entendentla faire reconnaître comme un art.
$24.95
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L'auteur vous invite à explorer les limites et les avancées des cinquante premières années en photographie et montre aussi comment certains des plus grands photographes de l'époque entendentla faire reconnaître comme un art.
Titre:
L'image révélée : l'invention de la photographie
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L'auteur vous invite à explorer les limites et les avancées des cinquante premières années en photographie et montre aussi comment certains des plus grands photographes de l'époque entendentla faire reconnaître comme un art.
L'image révélée : l'invention de la photographie
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L'auteur vous invite à explorer les limites et les avancées des cinquante premières années en photographie et montre aussi comment certains des plus grands photographes de l'époque entendentla faire reconnaître comme un art.
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livres
livres
Publication:
janvier 1900, Paris
janvier 1900, Paris
Sujet:
Théorie de la photographie
Théorie de la photographie
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livres
livres
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$100.00
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Based on decades of research, this book chronicles Baker and Burke's early days in Peshawar and their move to Muree, the Himalayan hill station on the border of Kashmir. It follows their documenting of the Afghan Wars, some of the earliest war photography, and their return to the plains of Lahore, where they continued to photograph the region’s people and landscape.
$100.00
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Résumé:
Based on decades of research, this book chronicles Baker and Burke's early days in Peshawar and their move to Muree, the Himalayan hill station on the border of Kashmir. It follows their documenting of the Afghan Wars, some of the earliest war photography, and their return to the plains of Lahore, where they continued to photograph the region’s people and landscape.
Titre:
From Kashmir to Kabul : the photographs of John Burke and William Baker 1860-1900
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$100.00
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Résumé:
Based on decades of research, this book chronicles Baker and Burke's early days in Peshawar and their move to Muree, the Himalayan hill station on the border of Kashmir. It follows their documenting of the Afghan Wars, some of the earliest war photography, and their return to the plains of Lahore, where they continued to photograph the region’s people and landscape.
From Kashmir to Kabul : the photographs of John Burke and William Baker 1860-1900
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$100.00
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Résumé:
Based on decades of research, this book chronicles Baker and Burke's early days in Peshawar and their move to Muree, the Himalayan hill station on the border of Kashmir. It follows their documenting of the Afghan Wars, some of the earliest war photography, and their return to the plains of Lahore, where they continued to photograph the region’s people and landscape.
Classification:
livres
livres
Publication:
octobre 2002, Munich
octobre 2002, Munich
Sujet:
Théorie de la photographie
Théorie de la photographie
Classification:
livres
livres
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$52.00
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Using New York as an example, the photographic project "EndCommercial" deals with the urban space, dissecting it into its semantic components. Picture for picture, photograph for photograph, the inner grammar of the urban context reveals itself. Collected in and on the streets, the principles of order and life signs of biotopes at the bottom end of the economic process(...)
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Résumé:
Using New York as an example, the photographic project "EndCommercial" deals with the urban space, dissecting it into its semantic components. Picture for picture, photograph for photograph, the inner grammar of the urban context reveals itself. Collected in and on the streets, the principles of order and life signs of biotopes at the bottom end of the economic process(...)
Sujet:
Théorie de la photographie
Théorie de la photographie
Publication:
septembre 2002, Ostfildern
septembre 2002, Ostfildern
Titre:
Endcommercial : reading the city
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Using New York as an example, the photographic project "EndCommercial" deals with the urban space, dissecting it into its semantic components. Picture for picture, photograph for photograph, the inner grammar of the urban context reveals itself. Collected in and on the streets, the principles of order and life signs of biotopes at the bottom end of the economic process are documented: writings on the wall, signs on the street, codes, symbols, fragments, authorship of the anonymous, wear and tear of the public living space and the people who use it. The surprise the book holds is the sudden perception of what has frequently been seen but seldom registered.
Endcommercial : reading the city
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$52.00
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Résumé:
Using New York as an example, the photographic project "EndCommercial" deals with the urban space, dissecting it into its semantic components. Picture for picture, photograph for photograph, the inner grammar of the urban context reveals itself. Collected in and on the streets, the principles of order and life signs of biotopes at the bottom end of the economic process are documented: writings on the wall, signs on the street, codes, symbols, fragments, authorship of the anonymous, wear and tear of the public living space and the people who use it. The surprise the book holds is the sudden perception of what has frequently been seen but seldom registered.
Classification:
livres
livres
Publication:
septembre 2002, Ostfildern
septembre 2002, Ostfildern
Sujet:
Théorie de la photographie
Théorie de la photographie
