452 Résultats
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Even as the media environment has changed dramatically in recent years, one thing at least remains true: photographs are everywhere. From professional news photos to smartphone selfies, images have become part of the fabric of modern life. And that may be the problem. Even as photography bears witness, it provokes anxieties about fraudulent representation; even as it(...)
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Even as the media environment has changed dramatically in recent years, one thing at least remains true: photographs are everywhere. From professional news photos to smartphone selfies, images have become part of the fabric of modern life. And that may be the problem. Even as photography bears witness, it provokes anxieties about fraudulent representation; even as it(...)
Sujet:
Théorie de la photographie
Théorie de la photographie
Publication:
novembre 2016
novembre 2016
Titre:
The public image: photography and civic spectatorship
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Even as the media environment has changed dramatically in recent years, one thing at least remains true: photographs are everywhere. From professional news photos to smartphone selfies, images have become part of the fabric of modern life. And that may be the problem. Even as photography bears witness, it provokes anxieties about fraudulent representation; even as it evokes compassion, it prompts anxieties about excessive exposure. Parents and pundits alike worry about the unprecedented media saturation that transforms society into an image world. And yet a great news photo can still stop us in our tracks, and the ever-expanding photographic archive documents an era of continuous change. By confronting these conflicted reactions to photography, Robert Hariman and John Louis Lucaites make the case for a fundamental shift in understanding photography and public culture. In place of suspicions about the medium’s capacity for distraction, deception, and manipulation, they suggest how it can provide resources for democratic communication and thoughtful reflection about contemporary social problems.
The public image: photography and civic spectatorship
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Even as the media environment has changed dramatically in recent years, one thing at least remains true: photographs are everywhere. From professional news photos to smartphone selfies, images have become part of the fabric of modern life. And that may be the problem. Even as photography bears witness, it provokes anxieties about fraudulent representation; even as it evokes compassion, it prompts anxieties about excessive exposure. Parents and pundits alike worry about the unprecedented media saturation that transforms society into an image world. And yet a great news photo can still stop us in our tracks, and the ever-expanding photographic archive documents an era of continuous change. By confronting these conflicted reactions to photography, Robert Hariman and John Louis Lucaites make the case for a fundamental shift in understanding photography and public culture. In place of suspicions about the medium’s capacity for distraction, deception, and manipulation, they suggest how it can provide resources for democratic communication and thoughtful reflection about contemporary social problems.
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livres
livres
Publication:
novembre 2016
novembre 2016
Sujet:
Théorie de la photographie
Théorie de la photographie
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livres
livres
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Photography is one of the principal filters through which we engage the world. The contributors to this volume focus on Walter Benjamin's concept of the optical unconscious to investigate how photography has shaped history, modernity, perception, lived experience, politics, race, and human agency. In essays that range from examinations of Benjamin's and Sigmund Freud's(...)
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Résumé:
Photography is one of the principal filters through which we engage the world. The contributors to this volume focus on Walter Benjamin's concept of the optical unconscious to investigate how photography has shaped history, modernity, perception, lived experience, politics, race, and human agency. In essays that range from examinations of Benjamin's and Sigmund Freud's(...)
Sujet:
Théorie de la photographie
Théorie de la photographie
Publication:
mai 2017
mai 2017
Titre:
Photography and the optical unconscious
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Photography is one of the principal filters through which we engage the world. The contributors to this volume focus on Walter Benjamin's concept of the optical unconscious to investigate how photography has shaped history, modernity, perception, lived experience, politics, race, and human agency. In essays that range from examinations of Benjamin's and Sigmund Freud's writings to the work of Kara Walker and Roland Barthes's famous Winter Garden photograph, the contributors explore what photography can teach us about the nature of the unconscious. They attend to side perceptions, develop latent images, discover things hidden in plain sight, focus on the disavowed, and perceive the slow. Of particular note are the ways race and colonialism have informed photography from its beginning. The volume also contains photographic portfolios by Zoe Leonard, Kelly Wood, and Kristan Horton, whose work speaks to the optical unconscious while demonstrating how photographs communicate on their own terms. The essays and portfolios in Photography and the Optical Unconscious create a collective and sustained assessment of Benjamin's influential concept, opening up new avenues for thinking about photography and the human psyche.
Photography and the optical unconscious
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Photography is one of the principal filters through which we engage the world. The contributors to this volume focus on Walter Benjamin's concept of the optical unconscious to investigate how photography has shaped history, modernity, perception, lived experience, politics, race, and human agency. In essays that range from examinations of Benjamin's and Sigmund Freud's writings to the work of Kara Walker and Roland Barthes's famous Winter Garden photograph, the contributors explore what photography can teach us about the nature of the unconscious. They attend to side perceptions, develop latent images, discover things hidden in plain sight, focus on the disavowed, and perceive the slow. Of particular note are the ways race and colonialism have informed photography from its beginning. The volume also contains photographic portfolios by Zoe Leonard, Kelly Wood, and Kristan Horton, whose work speaks to the optical unconscious while demonstrating how photographs communicate on their own terms. The essays and portfolios in Photography and the Optical Unconscious create a collective and sustained assessment of Benjamin's influential concept, opening up new avenues for thinking about photography and the human psyche.
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livres
livres
Publication:
mai 2017
mai 2017
Sujet:
Théorie de la photographie
Théorie de la photographie
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livres
livres
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$36.95
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As the boundaries that separate photography from other forms of artistic production are increasingly fluid, Solomon-Godeau, a pioneering feminist and politically engaged critic, argues that the relationships between photography, culture, gender, and power demand renewed attention. In her analyses of the photographic production of Cindy Sherman, Robert Mapplethorpe, Susan(...)
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As the boundaries that separate photography from other forms of artistic production are increasingly fluid, Solomon-Godeau, a pioneering feminist and politically engaged critic, argues that the relationships between photography, culture, gender, and power demand renewed attention. In her analyses of the photographic production of Cindy Sherman, Robert Mapplethorpe, Susan(...)
Titre:
Photography after photography: gender, genre, history
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As the boundaries that separate photography from other forms of artistic production are increasingly fluid, Solomon-Godeau, a pioneering feminist and politically engaged critic, argues that the relationships between photography, culture, gender, and power demand renewed attention. In her analyses of the photographic production of Cindy Sherman, Robert Mapplethorpe, Susan Meiselas, Francesca Woodman, and others, Solomon-Godeau refigures the disciplinary object of photography by considering these practices through an examination of the determinations of genre and gender as these shape the relations between photographers, their images, and their viewers.
Photography after photography: gender, genre, history
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As the boundaries that separate photography from other forms of artistic production are increasingly fluid, Solomon-Godeau, a pioneering feminist and politically engaged critic, argues that the relationships between photography, culture, gender, and power demand renewed attention. In her analyses of the photographic production of Cindy Sherman, Robert Mapplethorpe, Susan Meiselas, Francesca Woodman, and others, Solomon-Godeau refigures the disciplinary object of photography by considering these practices through an examination of the determinations of genre and gender as these shape the relations between photographers, their images, and their viewers.
Classification:
livres
livres
Publication:
mai 2017
mai 2017
Sujet:
Théorie de la photographie
Théorie de la photographie
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livres
livres
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$62.50
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n 1954, the French writer, politician, and publisher André Malraux (1901–1976) posed at home for a photographer from the magazine Paris Match, surrounded by pages from his forthcoming book Le musée imaginaire de la sculpture mondiale. The enchanting metaphor of the musée imaginaire (imaginary museum) was built upon that illustrated art book, and Malraux was one of its(...)
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n 1954, the French writer, politician, and publisher André Malraux (1901–1976) posed at home for a photographer from the magazine Paris Match, surrounded by pages from his forthcoming book Le musée imaginaire de la sculpture mondiale. The enchanting metaphor of the musée imaginaire (imaginary museum) was built upon that illustrated art book, and Malraux was one of its(...)
Titre:
The book on the floor: André Malraux and the imaginary museum
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n 1954, the French writer, politician, and publisher André Malraux (1901–1976) posed at home for a photographer from the magazine Paris Match, surrounded by pages from his forthcoming book Le musée imaginaire de la sculpture mondiale. The enchanting metaphor of the musée imaginaire (imaginary museum) was built upon that illustrated art book, and Malraux was one of its greatest champions. Drawing on a range of contemporary publications, he adopted images and responded to ideas. Indeed, Malraux’s book on the floor is a variation of photographer André Vigneau’s spectacular Encyclopédie photographique de l’art, published in five volumes from 1935 on—years before Malraux would enter this field. Both authors were engaged in juxtaposing artworks via photographs and publishing these photographs by the hundreds, but Malraux was the better sloganeer. Starting from a close examination of the photograph of Malraux in his salon, art historian Walter Grasskamp takes the reader back to the dawn of this genre of illustrated art book. He shows how it catalyzed the practice of comparing works of art on a global scale. He retraces the metaphor to earlier reproduction practices and highlights its ubiquity in contemporary art, ending with an homage to the other pioneer of the “museum without walls,” the unjustly forgotten Vigneau.
The book on the floor: André Malraux and the imaginary museum
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n 1954, the French writer, politician, and publisher André Malraux (1901–1976) posed at home for a photographer from the magazine Paris Match, surrounded by pages from his forthcoming book Le musée imaginaire de la sculpture mondiale. The enchanting metaphor of the musée imaginaire (imaginary museum) was built upon that illustrated art book, and Malraux was one of its greatest champions. Drawing on a range of contemporary publications, he adopted images and responded to ideas. Indeed, Malraux’s book on the floor is a variation of photographer André Vigneau’s spectacular Encyclopédie photographique de l’art, published in five volumes from 1935 on—years before Malraux would enter this field. Both authors were engaged in juxtaposing artworks via photographs and publishing these photographs by the hundreds, but Malraux was the better sloganeer. Starting from a close examination of the photograph of Malraux in his salon, art historian Walter Grasskamp takes the reader back to the dawn of this genre of illustrated art book. He shows how it catalyzed the practice of comparing works of art on a global scale. He retraces the metaphor to earlier reproduction practices and highlights its ubiquity in contemporary art, ending with an homage to the other pioneer of the “museum without walls,” the unjustly forgotten Vigneau.
Classification:
livres
livres
Publication:
janvier 2017
janvier 2017
Sujet:
Théorie de la photographie
Théorie de la photographie
Classification:
livres
livres
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" Image and inscription " answers the question “ What is photography becoming? ” Through essays and artists’ projects, this edition explores the innovation, drift, rupture and revelation of emerging photo-based art-making.
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" Image and inscription " answers the question “ What is photography becoming? ” Through essays and artists’ projects, this edition explores the innovation, drift, rupture and revelation of emerging photo-based art-making.
Titre:
Image and inscription : an anthology of contemporary Canadian photography
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" Image and inscription " answers the question “ What is photography becoming? ” Through essays and artists’ projects, this edition explores the innovation, drift, rupture and revelation of emerging photo-based art-making.
Image and inscription : an anthology of contemporary Canadian photography
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" Image and inscription " answers the question “ What is photography becoming? ” Through essays and artists’ projects, this edition explores the innovation, drift, rupture and revelation of emerging photo-based art-making.
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livres
livres
Publication:
janvier 1900, Toronto
janvier 1900, Toronto
Sujet:
Théorie de la photographie
Théorie de la photographie
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livres
livres
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$67.95
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In 'staged' photography the artist takes on the role of a director, creating or staging an image. He or she uses models, props, costumes or lighting, often creating a theatrical quality. This book traces the history of the staged photograph, focusing on such key themes as the artist as actor, art historical imagery, and narratives and allegories. It includes engaging(...)
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In 'staged' photography the artist takes on the role of a director, creating or staging an image. He or she uses models, props, costumes or lighting, often creating a theatrical quality. This book traces the history of the staged photograph, focusing on such key themes as the artist as actor, art historical imagery, and narratives and allegories. It includes engaging(...)
Sujet:
Théorie de la photographie
Théorie de la photographie
Publication:
mai 2006, Ottawa / London / New York
mai 2006, Ottawa / London / New York
Titre:
Acting the part : photography as theatre
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In 'staged' photography the artist takes on the role of a director, creating or staging an image. He or she uses models, props, costumes or lighting, often creating a theatrical quality. This book traces the history of the staged photograph, focusing on such key themes as the artist as actor, art historical imagery, and narratives and allegories. It includes engaging essays on Victorian tableaux vivants, Surrealism, and iconic photographs from the 1930s and 1940s previously thought to be documentary images but that were in fact staged.
Acting the part : photography as theatre
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Résumé:
In 'staged' photography the artist takes on the role of a director, creating or staging an image. He or she uses models, props, costumes or lighting, often creating a theatrical quality. This book traces the history of the staged photograph, focusing on such key themes as the artist as actor, art historical imagery, and narratives and allegories. It includes engaging essays on Victorian tableaux vivants, Surrealism, and iconic photographs from the 1930s and 1940s previously thought to be documentary images but that were in fact staged.
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livres
livres
Publication:
mai 2006, Ottawa / London / New York
mai 2006, Ottawa / London / New York
Sujet:
Théorie de la photographie
Théorie de la photographie
Classification:
livres
livres
Titre:
The ongoing moment
The ongoing moment
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Seeking to identify their signature styles, Dyer looks at the ways in which such canonical figures as Alfred Stieglitz, Paul Strand, Walker Evans, André Kertész, Edward Weston, Dorothea Lange, Diane Arbus, and William Eggleston, among others, have photographed the same things (barber shops, benches, hands, roads, and signs, for example). In doing so, he constructs a(...)
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Seeking to identify their signature styles, Dyer looks at the ways in which such canonical figures as Alfred Stieglitz, Paul Strand, Walker Evans, André Kertész, Edward Weston, Dorothea Lange, Diane Arbus, and William Eggleston, among others, have photographed the same things (barber shops, benches, hands, roads, and signs, for example). In doing so, he constructs a(...)
Titre:
The ongoing moment
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$35.95
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Seeking to identify their signature styles, Dyer looks at the ways in which such canonical figures as Alfred Stieglitz, Paul Strand, Walker Evans, André Kertész, Edward Weston, Dorothea Lange, Diane Arbus, and William Eggleston, among others, have photographed the same things (barber shops, benches, hands, roads, and signs, for example). In doing so, he constructs a narrative in which these photographers—many of whom never met—constantly encounter one another.
The ongoing moment
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Seeking to identify their signature styles, Dyer looks at the ways in which such canonical figures as Alfred Stieglitz, Paul Strand, Walker Evans, André Kertész, Edward Weston, Dorothea Lange, Diane Arbus, and William Eggleston, among others, have photographed the same things (barber shops, benches, hands, roads, and signs, for example). In doing so, he constructs a narrative in which these photographers—many of whom never met—constantly encounter one another.
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livres
livres
Publication:
octobre 2005, New York
octobre 2005, New York
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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A truly ambitious, twice yearly photographic magazine featuring a broad range of contributions, which is published with the ambition of promoting discussion and creation of photography, without cultural, geographical or thematic boundaries. This first issue features among 22 contributions: previously unpublished photographs from the archive of Isamu Noguchi; a portfolio(...)
$100.00
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A truly ambitious, twice yearly photographic magazine featuring a broad range of contributions, which is published with the ambition of promoting discussion and creation of photography, without cultural, geographical or thematic boundaries. This first issue features among 22 contributions: previously unpublished photographs from the archive of Isamu Noguchi; a portfolio(...)
Sujet:
Théorie de la photographie
Théorie de la photographie
Publication:
janvier 2006, London
janvier 2006, London
Titre:
C international photo magazine, number one
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A truly ambitious, twice yearly photographic magazine featuring a broad range of contributions, which is published with the ambition of promoting discussion and creation of photography, without cultural, geographical or thematic boundaries. This first issue features among 22 contributions: previously unpublished photographs from the archive of Isamu Noguchi; a portfolio including works from Ellen Kooi, Wang Qingsong, Kahn + Selesnick, Yasuma Morimura and Marcos López; vintage photographs from Dmitri Baltermants; and fresh images from Wim Wenders.
C international photo magazine, number one
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A truly ambitious, twice yearly photographic magazine featuring a broad range of contributions, which is published with the ambition of promoting discussion and creation of photography, without cultural, geographical or thematic boundaries. This first issue features among 22 contributions: previously unpublished photographs from the archive of Isamu Noguchi; a portfolio including works from Ellen Kooi, Wang Qingsong, Kahn + Selesnick, Yasuma Morimura and Marcos López; vintage photographs from Dmitri Baltermants; and fresh images from Wim Wenders.
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livres
livres
Publication:
janvier 2006, London
janvier 2006, London
Sujet:
Théorie de la photographie
Théorie de la photographie
Classification:
livres
livres
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$55.95
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Catalogue. Oeuvres de Christophe Bouguedieu, Yves Trémorin, Joachim Mogarra, Pierre-Étienne Morelle, Dans le champ des étoiles, Brassaï.
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Catalogue. Oeuvres de Christophe Bouguedieu, Yves Trémorin, Joachim Mogarra, Pierre-Étienne Morelle, Dans le champ des étoiles, Brassaï.
Sujet:
Théorie de la photographie
Théorie de la photographie
Publication:
janvier 2006
janvier 2006
Titre:
Images au centre 05 : photographie, vidéo & patrimoine
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Catalogue. Oeuvres de Christophe Bouguedieu, Yves Trémorin, Joachim Mogarra, Pierre-Étienne Morelle, Dans le champ des étoiles, Brassaï.
Images au centre 05 : photographie, vidéo & patrimoine
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Catalogue. Oeuvres de Christophe Bouguedieu, Yves Trémorin, Joachim Mogarra, Pierre-Étienne Morelle, Dans le champ des étoiles, Brassaï.
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livres
livres
Publication:
janvier 2006
janvier 2006
Sujet:
Théorie de la photographie
Théorie de la photographie
Classification:
livres
livres
Titre:
Searching for Sebald
Searching for Sebald
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W.G. Sebaldís books are sui generis hybrids of fiction, travelogue, autobiography and historical expose, in which a narrator (both Sebald and not Sebald) comments on the quick blossoming of natural wonders and the long deaths that come of human atrocities. All his narratives are punctuated with images--murky photographs, architectural plans, engravings, paintings,(...)
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W.G. Sebaldís books are sui generis hybrids of fiction, travelogue, autobiography and historical expose, in which a narrator (both Sebald and not Sebald) comments on the quick blossoming of natural wonders and the long deaths that come of human atrocities. All his narratives are punctuated with images--murky photographs, architectural plans, engravings, paintings,(...)
Sujet:
Théorie de la photographie
Théorie de la photographie
Publication:
mai 2006, Los Angeles
mai 2006, Los Angeles
Titre:
Searching for Sebald
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$46.00
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Résumé:
W.G. Sebaldís books are sui generis hybrids of fiction, travelogue, autobiography and historical expose, in which a narrator (both Sebald and not Sebald) comments on the quick blossoming of natural wonders and the long deaths that come of human atrocities. All his narratives are punctuated with images--murky photographs, architectural plans, engravings, paintings, newspaper clippings--inserted into the prose without captions and often without obvious connection to the words that surround them. This important volume includes a rare 1993 interview called ì'But the written word is not a true document': A Conversation with W.G. Sebald about Photography and Literature,î in which Sebald talks exclusively about his use of photographs. It contains some of Sebald's most illuminating and poetic remarks about the topic yet.
Searching for Sebald
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W.G. Sebaldís books are sui generis hybrids of fiction, travelogue, autobiography and historical expose, in which a narrator (both Sebald and not Sebald) comments on the quick blossoming of natural wonders and the long deaths that come of human atrocities. All his narratives are punctuated with images--murky photographs, architectural plans, engravings, paintings, newspaper clippings--inserted into the prose without captions and often without obvious connection to the words that surround them. This important volume includes a rare 1993 interview called ì'But the written word is not a true document': A Conversation with W.G. Sebald about Photography and Literature,î in which Sebald talks exclusively about his use of photographs. It contains some of Sebald's most illuminating and poetic remarks about the topic yet.
Classification:
livres
livres
Publication:
mai 2006, Los Angeles
mai 2006, Los Angeles
Sujet:
Théorie de la photographie
Théorie de la photographie
