442 Résultats
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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(...)
$36.95
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Résumé:
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.
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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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$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
Titre:
Photography and Germany
Photography and Germany
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The meeting of photography and Germany evokes pioneering modernist pictures from the Weimar era and colossal digital prints that define the medium’s art practice today. It also recalls horrifying documents of wartime atrocity and the relentless surveillance of East German citizens. This publication broadens these perceptions by examining photography’s multi-faceted(...)
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The meeting of photography and Germany evokes pioneering modernist pictures from the Weimar era and colossal digital prints that define the medium’s art practice today. It also recalls horrifying documents of wartime atrocity and the relentless surveillance of East German citizens. This publication broadens these perceptions by examining photography’s multi-faceted(...)
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Photography and Germany
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The meeting of photography and Germany evokes pioneering modernist pictures from the Weimar era and colossal digital prints that define the medium’s art practice today. It also recalls horrifying documents of wartime atrocity and the relentless surveillance of East German citizens. This publication broadens these perceptions by examining photography’s multi-faceted relationship with Germany’s turbulent cultural, political and social history. It shows how many of the same phenomena that helped generate the country’s most recognizable photographs also led to a range of lesser-known pictures that similarly documented or negotiated Germany’s cultural identity and historical ruptures.
Photography and Germany
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The meeting of photography and Germany evokes pioneering modernist pictures from the Weimar era and colossal digital prints that define the medium’s art practice today. It also recalls horrifying documents of wartime atrocity and the relentless surveillance of East German citizens. This publication broadens these perceptions by examining photography’s multi-faceted relationship with Germany’s turbulent cultural, political and social history. It shows how many of the same phenomena that helped generate the country’s most recognizable photographs also led to a range of lesser-known pictures that similarly documented or negotiated Germany’s cultural identity and historical ruptures.
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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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In 1978, Zofia Rydet (1911–97) began work on a monumental project that would come to be known as her ''Sociological Record'': photographing the people of Poland at their homes, she produced an extraordinary archive of around twenty thousand negatives. The undertaking consumed Rydet so completely that she was never able to give it final shape through a book or an art show.(...)
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In 1978, Zofia Rydet (1911–97) began work on a monumental project that would come to be known as her ''Sociological Record'': photographing the people of Poland at their homes, she produced an extraordinary archive of around twenty thousand negatives. The undertaking consumed Rydet so completely that she was never able to give it final shape through a book or an art show.(...)
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Object lessons: Zofia Rydet's 'Sociological record'
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In 1978, Zofia Rydet (1911–97) began work on a monumental project that would come to be known as her ''Sociological Record'': photographing the people of Poland at their homes, she produced an extraordinary archive of around twenty thousand negatives. The undertaking consumed Rydet so completely that she was never able to give it final shape through a book or an art show. ''Object Lessons'', a new volume of essays inspired by an exhibition at the Museum of Modern Art in Warsaw, helps to dispel the myths that have formed around the project in recent years and introduces the photographer to a new global audience. Rydet herself remained unresolved over the question of how to define her work, leaving the viewer to ponder whether her magnum opus is a piece of art or science. What does remain undisputed is that ''Sociological Record'' is a striking testimony of its time.
Object lessons: Zofia Rydet's 'Sociological record'
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In 1978, Zofia Rydet (1911–97) began work on a monumental project that would come to be known as her ''Sociological Record'': photographing the people of Poland at their homes, she produced an extraordinary archive of around twenty thousand negatives. The undertaking consumed Rydet so completely that she was never able to give it final shape through a book or an art show. ''Object Lessons'', a new volume of essays inspired by an exhibition at the Museum of Modern Art in Warsaw, helps to dispel the myths that have formed around the project in recent years and introduces the photographer to a new global audience. Rydet herself remained unresolved over the question of how to define her work, leaving the viewer to ponder whether her magnum opus is a piece of art or science. What does remain undisputed is that ''Sociological Record'' is a striking testimony of its time.
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livres
livres
Publication:
juillet 2018
juillet 2018
Sujet:
Théorie de la photographie
Théorie de la photographie
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livres
livres
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L’administration des Monuments historiques a rassemblé aux 19e et 20e siècles une collection photographique qui compte à l’heure actuelle au moins quinze millions de négatifs et quatre millions de tirages. Après la Mission héliographique de 1851, première commande photographique de l’État, la collection se développe véritablement à partir de 1875 et va peu à peu s’étendre(...)
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L’administration des Monuments historiques a rassemblé aux 19e et 20e siècles une collection photographique qui compte à l’heure actuelle au moins quinze millions de négatifs et quatre millions de tirages. Après la Mission héliographique de 1851, première commande photographique de l’État, la collection se développe véritablement à partir de 1875 et va peu à peu s’étendre(...)
Titre:
Photographier le patrimoine aux 19e et 20e siècles
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L’administration des Monuments historiques a rassemblé aux 19e et 20e siècles une collection photographique qui compte à l’heure actuelle au moins quinze millions de négatifs et quatre millions de tirages. Après la Mission héliographique de 1851, première commande photographique de l’État, la collection se développe véritablement à partir de 1875 et va peu à peu s’étendre à tous les domaines des arts. Le Gray et Baldus y côtoient Mieusement et Marville, Atget et Nadar, pour ne citer que quelques-uns des plus célèbres photographes représentés. Avec la première guerre mondiale et la création de la Section photographique et cinématographique de l'Armée, c’est une nouvelle dimension qui est abordée, celle de l’actualité de guerre. Cette histoire est celle des nombreux services et des personnes qui se sont attachés à constituer ces fonds de photographies, à les préserver, à les développer pour répondre aux besoins d’inventaire et de rayonnement de notre patrimoine national. La Médiathèque de l’architecture et du patrimoine assume désormais la charge de cette collection photographique inestimable, sans doute l’une des plus riches d’Europe. Publié à l’occasion du vingtième anniversaire de la MAP, l’ouvrage d’Anne Fourestié et Isabelle Gui retrace cent cinquante ans d’histoire de la photographie en s’appuyant sur des fonds d’archives méconnus.
Photographier le patrimoine aux 19e et 20e siècles
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L’administration des Monuments historiques a rassemblé aux 19e et 20e siècles une collection photographique qui compte à l’heure actuelle au moins quinze millions de négatifs et quatre millions de tirages. Après la Mission héliographique de 1851, première commande photographique de l’État, la collection se développe véritablement à partir de 1875 et va peu à peu s’étendre à tous les domaines des arts. Le Gray et Baldus y côtoient Mieusement et Marville, Atget et Nadar, pour ne citer que quelques-uns des plus célèbres photographes représentés. Avec la première guerre mondiale et la création de la Section photographique et cinématographique de l'Armée, c’est une nouvelle dimension qui est abordée, celle de l’actualité de guerre. Cette histoire est celle des nombreux services et des personnes qui se sont attachés à constituer ces fonds de photographies, à les préserver, à les développer pour répondre aux besoins d’inventaire et de rayonnement de notre patrimoine national. La Médiathèque de l’architecture et du patrimoine assume désormais la charge de cette collection photographique inestimable, sans doute l’une des plus riches d’Europe. Publié à l’occasion du vingtième anniversaire de la MAP, l’ouvrage d’Anne Fourestié et Isabelle Gui retrace cent cinquante ans d’histoire de la photographie en s’appuyant sur des fonds d’archives méconnus.
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livres
livres
Publication:
janvier 2017
janvier 2017
Sujet:
Théorie de la photographie
Théorie de la photographie
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livres
livres
Prix:
$35.95
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Résumé:
Cette publication constitue une plate-forme internationale de discussion entre artistes, écrivains, théoriciens, curateurs et historiens questionnant le statut même de la photographie aujourd'hui, notre relation à l'image, ainsi que les dimensions politiques et culturelles de celle-ci, à partir d'une mise en perspective de l'image photographique contemporaine à l'ère(...)
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Cette publication constitue une plate-forme internationale de discussion entre artistes, écrivains, théoriciens, curateurs et historiens questionnant le statut même de la photographie aujourd'hui, notre relation à l'image, ainsi que les dimensions politiques et culturelles de celle-ci, à partir d'une mise en perspective de l'image photographique contemporaine à l'ère(...)
Sujet:
Théorie de la photographie
Théorie de la photographie
Publication:
novembre 2019
novembre 2019
Titre:
Après la crise : états contemporains de la photographie
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Cette publication constitue une plate-forme internationale de discussion entre artistes, écrivains, théoriciens, curateurs et historiens questionnant le statut même de la photographie aujourd'hui, notre relation à l'image, ainsi que les dimensions politiques et culturelles de celle-ci, à partir d'une mise en perspective de l'image photographique contemporaine à l'ère numérique avec la crise de la représentation à l'époque de la naissance de la photographie.
Après la crise : états contemporains de la photographie
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Cette publication constitue une plate-forme internationale de discussion entre artistes, écrivains, théoriciens, curateurs et historiens questionnant le statut même de la photographie aujourd'hui, notre relation à l'image, ainsi que les dimensions politiques et culturelles de celle-ci, à partir d'une mise en perspective de l'image photographique contemporaine à l'ère numérique avec la crise de la représentation à l'époque de la naissance de la photographie.
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livres
livres
Publication:
novembre 2019
novembre 2019
Sujet:
Théorie de la photographie
Théorie de la photographie
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livres
livres
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Le présent recueil réunit les textes que Nicolas Bouvier a écrits sur la photographie entre 1965 et 1996. À de nombreuses occasions, l’auteur genevois avait parlé de son métier d’iconographe, notamment dans le petit livre Le hibou et la baleine, paru en 1993, mais sa réflexion sur l’acte photographique restait à découvrir. Jusqu’à ce jour, les écrits qu’il a dédié à ce(...)
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Résumé:
Le présent recueil réunit les textes que Nicolas Bouvier a écrits sur la photographie entre 1965 et 1996. À de nombreuses occasions, l’auteur genevois avait parlé de son métier d’iconographe, notamment dans le petit livre Le hibou et la baleine, paru en 1993, mais sa réflexion sur l’acte photographique restait à découvrir. Jusqu’à ce jour, les écrits qu’il a dédié à ce(...)
Titre:
Du coin de l'oeil : écrits sur la photographie
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Le présent recueil réunit les textes que Nicolas Bouvier a écrits sur la photographie entre 1965 et 1996. À de nombreuses occasions, l’auteur genevois avait parlé de son métier d’iconographe, notamment dans le petit livre Le hibou et la baleine, paru en 1993, mais sa réflexion sur l’acte photographique restait à découvrir. Jusqu’à ce jour, les écrits qu’il a dédié à ce sujet (préfaces, articles de presse, introductions à des catalogues d’exposition) restaient dispersés. Près de quarante textes se trouvent ainsi rassemblés ici. Parmi eux, certains relatent également son activité de « chercheur-traqueur d’images », qui aura été son gagne-pain durant près de trente ans.
Du coin de l'oeil : écrits sur la photographie
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Le présent recueil réunit les textes que Nicolas Bouvier a écrits sur la photographie entre 1965 et 1996. À de nombreuses occasions, l’auteur genevois avait parlé de son métier d’iconographe, notamment dans le petit livre Le hibou et la baleine, paru en 1993, mais sa réflexion sur l’acte photographique restait à découvrir. Jusqu’à ce jour, les écrits qu’il a dédié à ce sujet (préfaces, articles de presse, introductions à des catalogues d’exposition) restaient dispersés. Près de quarante textes se trouvent ainsi rassemblés ici. Parmi eux, certains relatent également son activité de « chercheur-traqueur d’images », qui aura été son gagne-pain durant près de trente ans.
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livres
livres
Publication:
novembre 2019
novembre 2019
Sujet:
Théorie de la photographie
Théorie de la photographie
Classification:
livres
livres
Titre:
Trigger impact
Trigger impact
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Résumé:
'Trigger' is a new platform launched by Fotomuseum Antwerpen for research, reflection, and dialogue on all things photographic. This first publication on 'Impact' is made in close collaboration with the Royal Academy of Fine Arts (KABK), The Hague, and guest editor Donald Weber. It aims to cast impact as a re-enactment or assertion of radical intimacy, initiate a(...)
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'Trigger' is a new platform launched by Fotomuseum Antwerpen for research, reflection, and dialogue on all things photographic. This first publication on 'Impact' is made in close collaboration with the Royal Academy of Fine Arts (KABK), The Hague, and guest editor Donald Weber. It aims to cast impact as a re-enactment or assertion of radical intimacy, initiate a(...)
Titre:
Trigger impact
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'Trigger' is a new platform launched by Fotomuseum Antwerpen for research, reflection, and dialogue on all things photographic. This first publication on 'Impact' is made in close collaboration with the Royal Academy of Fine Arts (KABK), The Hague, and guest editor Donald Weber. It aims to cast impact as a re-enactment or assertion of radical intimacy, initiate a different gaze on the world, and show that impact can also exist within an ecology or geography of photography. Through 20 contributions by Ariella Azoulay, Lewis Bush, Taco Hidde Bakker, Andrew Jackson and Savannah Dodd, Shahidul Alam, Andrea Stultiens, and more, we learn how impact is social, participative, conflictual.
Trigger impact
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'Trigger' is a new platform launched by Fotomuseum Antwerpen for research, reflection, and dialogue on all things photographic. This first publication on 'Impact' is made in close collaboration with the Royal Academy of Fine Arts (KABK), The Hague, and guest editor Donald Weber. It aims to cast impact as a re-enactment or assertion of radical intimacy, initiate a different gaze on the world, and show that impact can also exist within an ecology or geography of photography. Through 20 contributions by Ariella Azoulay, Lewis Bush, Taco Hidde Bakker, Andrew Jackson and Savannah Dodd, Shahidul Alam, Andrea Stultiens, and more, we learn how impact is social, participative, conflictual.
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livres
livres
Publication:
janvier 2020
janvier 2020
Sujet:
Théorie de la photographie
Théorie de la photographie
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livres
livres
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Sally Stein reconsiders Dorothea Lange’s iconic portrait of maternity and modern emblem of family values in light of Lange’s long-overlooked ‘Padonna’ pictures and proposes that ‘Migrant Mother’ should in fact be seen as a disruptive image of women’s conflictual relation to home, and the world. Stein is an American academic and cultural theorist living in Los Angeles. The(...)
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Sally Stein reconsiders Dorothea Lange’s iconic portrait of maternity and modern emblem of family values in light of Lange’s long-overlooked ‘Padonna’ pictures and proposes that ‘Migrant Mother’ should in fact be seen as a disruptive image of women’s conflictual relation to home, and the world. Stein is an American academic and cultural theorist living in Los Angeles. The(...)
Titre:
Dorothea Lange: Migrant mother, Migrant gender
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Sally Stein reconsiders Dorothea Lange’s iconic portrait of maternity and modern emblem of family values in light of Lange’s long-overlooked ‘Padonna’ pictures and proposes that ‘Migrant Mother’ should in fact be seen as a disruptive image of women’s conflictual relation to home, and the world. Stein is an American academic and cultural theorist living in Los Angeles. The interrelated topics she most often engages concern the multiple effects of documentary imagery, the politics of gender, and the status and meaning of black and white and color imagery on our perceptions, beliefs, even actions as consumers and citizens. Dr. Stein, Professor Emerita, UC Irvine, is an independent scholar based in Los Angeles who continues to research and write about 20thcentury photography in the U.S. and its relation to broader questions of culture and society. She has written about New Deal FSA photographers—particularly Dorothea Lange, Marion Post Wolcott, Jack Delano—as well as the contested image of FDR. Her numerous essays about popular mass media – Ladies Home Journal, Life and Look – extend her ongoing study of the various aspects of the rise of color photography. The interrelated topics she most often engages concern the multiple effects of documentary imagery, the politics of gender, and the status and meaning of black and white and color imagery on our perceptions, beliefs, even actions as consumers and citizens.
Dorothea Lange: Migrant mother, Migrant gender
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Sally Stein reconsiders Dorothea Lange’s iconic portrait of maternity and modern emblem of family values in light of Lange’s long-overlooked ‘Padonna’ pictures and proposes that ‘Migrant Mother’ should in fact be seen as a disruptive image of women’s conflictual relation to home, and the world. Stein is an American academic and cultural theorist living in Los Angeles. The interrelated topics she most often engages concern the multiple effects of documentary imagery, the politics of gender, and the status and meaning of black and white and color imagery on our perceptions, beliefs, even actions as consumers and citizens. Dr. Stein, Professor Emerita, UC Irvine, is an independent scholar based in Los Angeles who continues to research and write about 20thcentury photography in the U.S. and its relation to broader questions of culture and society. She has written about New Deal FSA photographers—particularly Dorothea Lange, Marion Post Wolcott, Jack Delano—as well as the contested image of FDR. Her numerous essays about popular mass media – Ladies Home Journal, Life and Look – extend her ongoing study of the various aspects of the rise of color photography. The interrelated topics she most often engages concern the multiple effects of documentary imagery, the politics of gender, and the status and meaning of black and white and color imagery on our perceptions, beliefs, even actions as consumers and citizens.
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livres
livres
Publication:
février 2020
février 2020
Sujet:
Théorie de la photographie
Théorie de la photographie
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livres
livres
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In 'Suspended Conversations' Martha Langford shows how photographic albums tell intimate and revealing stories about individuals and families. Rather than isolate the individual photograph, treat albums as texts, or argue that photography has supplanted memory, she demonstrates that the photographic album must be taken as a whole and interpreted as a visual and verbal(...)
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In 'Suspended Conversations' Martha Langford shows how photographic albums tell intimate and revealing stories about individuals and families. Rather than isolate the individual photograph, treat albums as texts, or argue that photography has supplanted memory, she demonstrates that the photographic album must be taken as a whole and interpreted as a visual and verbal(...)
Titre:
Suspended conversations: the afterlife of memory in photographic albums, second edition
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In 'Suspended Conversations' Martha Langford shows how photographic albums tell intimate and revealing stories about individuals and families. Rather than isolate the individual photograph, treat albums as texts, or argue that photography has supplanted memory, she demonstrates that the photographic album must be taken as a whole and interpreted as a visual and verbal performance that extends oral consciousness.
Suspended conversations: the afterlife of memory in photographic albums, second edition
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In 'Suspended Conversations' Martha Langford shows how photographic albums tell intimate and revealing stories about individuals and families. Rather than isolate the individual photograph, treat albums as texts, or argue that photography has supplanted memory, she demonstrates that the photographic album must be taken as a whole and interpreted as a visual and verbal performance that extends oral consciousness.
Classification:
livres
livres
Publication:
juillet 2021
juillet 2021
Sujet:
Théorie de la photographie
Théorie de la photographie
