434 Résultats
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Catalogue for an exhibition of ninety 19th-century photographs drawn principally from the collection of Michael G. Wilson. Included are the photographs of Sergeant James McDonald's survey of Palestine and Jerusalem, recently discovered photographs by Ernest Benecke, and the rare photographs taken by Maxime Du Camp as he travelled with Flaubert. With an(...)
$43.50
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Résumé:
Catalogue for an exhibition of ninety 19th-century photographs drawn principally from the collection of Michael G. Wilson. Included are the photographs of Sergeant James McDonald's survey of Palestine and Jerusalem, recently discovered photographs by Ernest Benecke, and the rare photographs taken by Maxime Du Camp as he travelled with Flaubert. With an(...)
Sujet:
Théorie de la photographie
Théorie de la photographie
Publication:
octobre 1997, Santa Barbara
octobre 1997, Santa Barbara
Titre:
Revealing the holy land : the photographic exploration of Palestine
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Catalogue for an exhibition of ninety 19th-century photographs drawn principally from the collection of Michael G. Wilson. Included are the photographs of Sergeant James McDonald's survey of Palestine and Jerusalem, recently discovered photographs by Ernest Benecke, and the rare photographs taken by Maxime Du Camp as he travelled with Flaubert. With an introduction by Nitza Rosovsky.
Revealing the holy land : the photographic exploration of Palestine
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Catalogue for an exhibition of ninety 19th-century photographs drawn principally from the collection of Michael G. Wilson. Included are the photographs of Sergeant James McDonald's survey of Palestine and Jerusalem, recently discovered photographs by Ernest Benecke, and the rare photographs taken by Maxime Du Camp as he travelled with Flaubert. With an introduction by Nitza Rosovsky.
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livres
livres
Publication:
octobre 1997, Santa Barbara
octobre 1997, Santa Barbara
Sujet:
Théorie de la photographie
Théorie de la photographie
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livres
livres
Titre:
New objectivity : August Sander, Karl Blossfeldt, Albert Renger-Patzsch, Bernd and Hilla Becher
New objectivity : August Sander, Karl Blossfeldt, Albert Renger-Patzsch, Bernd and Hilla Becher
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By presenting the systematic approaches to photo-documentation as practised by these 20th century German photographers, this book examines the differences and similarities in their work.
$79.00
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Résumé:
By presenting the systematic approaches to photo-documentation as practised by these 20th century German photographers, this book examines the differences and similarities in their work.
Sujet:
Théorie de la photographie
Théorie de la photographie
Publication:
septembre 1997, Munich
septembre 1997, Munich
Titre:
New objectivity : August Sander, Karl Blossfeldt, Albert Renger-Patzsch, Bernd and Hilla Becher
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By presenting the systematic approaches to photo-documentation as practised by these 20th century German photographers, this book examines the differences and similarities in their work.
New objectivity : August Sander, Karl Blossfeldt, Albert Renger-Patzsch, Bernd and Hilla Becher
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By presenting the systematic approaches to photo-documentation as practised by these 20th century German photographers, this book examines the differences and similarities in their work.
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livres
livres
Publication:
septembre 1997, Munich
septembre 1997, Munich
Sujet:
Théorie de la photographie
Théorie de la photographie
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livres
livres
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$29.95
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Taking up where "Notations in Passing" left off, "Riding 1st Class on the Titanic" encompasses Nathan Lyons's work from 1974 to the present. Like the earlier book, this one consists primarily of a series of paired images, beautifully sequenced by the photographer, with very little (...)
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Taking up where "Notations in Passing" left off, "Riding 1st Class on the Titanic" encompasses Nathan Lyons's work from 1974 to the present. Like the earlier book, this one consists primarily of a series of paired images, beautifully sequenced by the photographer, with very little (...)
Titre:
Riding 1st Class on the Titanic : photographs by Nathan Lyons
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Taking up where "Notations in Passing" left off, "Riding 1st Class on the Titanic" encompasses Nathan Lyons's work from 1974 to the present. Like the earlier book, this one consists primarily of a series of paired images, beautifully sequenced by the photographer, with very little text. Found language, such as that on building facades and signs, plays a prominent role in many of the sequences. The book, which accompanies a traveling exhibition organized by the Addison Gallery of American Art, contains a foreword by Adam Weinberg, Director of the Addison Gallery, and an essay by Leroy Searle. The title refers to the paradox of the Titanic, a symbol of invulnerability that became the carrier of our ultimate vulnerability. Lyons's work investigates the value systems that we have embraced, only to discover that their elusive meanings do more to challenge our belief systems than to reinforce them.
Riding 1st Class on the Titanic : photographs by Nathan Lyons
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Taking up where "Notations in Passing" left off, "Riding 1st Class on the Titanic" encompasses Nathan Lyons's work from 1974 to the present. Like the earlier book, this one consists primarily of a series of paired images, beautifully sequenced by the photographer, with very little text. Found language, such as that on building facades and signs, plays a prominent role in many of the sequences. The book, which accompanies a traveling exhibition organized by the Addison Gallery of American Art, contains a foreword by Adam Weinberg, Director of the Addison Gallery, and an essay by Leroy Searle. The title refers to the paradox of the Titanic, a symbol of invulnerability that became the carrier of our ultimate vulnerability. Lyons's work investigates the value systems that we have embraced, only to discover that their elusive meanings do more to challenge our belief systems than to reinforce them.
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livres
livres
Publication:
janvier 1960, Cambridge, Mass.
janvier 1960, Cambridge, Mass.
Sujet:
Théorie de la photographie
Théorie de la photographie
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livres
livres
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$75.00
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Accompanying the British Army during its decisive foray into China in 1860, Felice Beato was the first photographer to document a military campaign in progress. He captured not only the immediacy of war, the aftermath of battle, and strategic military positions, but also the sumptuous new Summer Palace before its destruction by the British. His(...)
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Accompanying the British Army during its decisive foray into China in 1860, Felice Beato was the first photographer to document a military campaign in progress. He captured not only the immediacy of war, the aftermath of battle, and strategic military positions, but also the sumptuous new Summer Palace before its destruction by the British. His(...)
Titre:
Of battle and beauty : Felice Beato's photographs of China
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Accompanying the British Army during its decisive foray into China in 1860, Felice Beato was the first photographer to document a military campaign in progress. He captured not only the immediacy of war, the aftermath of battle, and strategic military positions, but also the sumptuous new Summer Palace before its destruction by the British. His photographic record of the Second Opium War consisted of approximately 100 images, including a number of panoramic views, which survive in the form of private albums orignally compiled by British officers as a record of their victorious campaign. In addition to providing a strikingly beautiful glimpse of nineteenth-century China, these images also reveal how photography functioned as an integral component of British imperialism by shaping perceptions about a distant country and its culture. This publication accompanies a major exhibition of Beato's work in China.
Of battle and beauty : Felice Beato's photographs of China
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Accompanying the British Army during its decisive foray into China in 1860, Felice Beato was the first photographer to document a military campaign in progress. He captured not only the immediacy of war, the aftermath of battle, and strategic military positions, but also the sumptuous new Summer Palace before its destruction by the British. His photographic record of the Second Opium War consisted of approximately 100 images, including a number of panoramic views, which survive in the form of private albums orignally compiled by British officers as a record of their victorious campaign. In addition to providing a strikingly beautiful glimpse of nineteenth-century China, these images also reveal how photography functioned as an integral component of British imperialism by shaping perceptions about a distant country and its culture. This publication accompanies a major exhibition of Beato's work in China.
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livres
livres
Publication:
novembre 1999, Santa Barbara
novembre 1999, Santa Barbara
Sujet:
Théorie de la photographie
Théorie de la photographie
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livres
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Focusing on early nineteenth-century England, and on the works and texts of the inventor of paper photography, William Henry Fox Talbot, Singular Images, Failed Copies historicizes the conceptualization of photography in that era as part of a major historical change. Treating photography not merely as a medium or a system of representation but also as an epistemology,(...)
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Focusing on early nineteenth-century England, and on the works and texts of the inventor of paper photography, William Henry Fox Talbot, Singular Images, Failed Copies historicizes the conceptualization of photography in that era as part of a major historical change. Treating photography not merely as a medium or a system of representation but also as an epistemology,(...)
Titre:
Singular images, failed copies: William Henry Fox Talbot and the early photograph
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Focusing on early nineteenth-century England, and on the works and texts of the inventor of paper photography, William Henry Fox Talbot, Singular Images, Failed Copies historicizes the conceptualization of photography in that era as part of a major historical change. Treating photography not merely as a medium or a system of representation but also as an epistemology, Vered Maimon challenges today's prevalent association of the early photograph with the camera obscura. Instead, she points to material, formal, and conceptual differences between those two types of images by considering the philosophical and aesthetic premises linked with early photography. Through this analysis she argues that the emphasis in Talbot's accounts on the removal of the artist's hand in favor of the pencil of nature did not mark a shift from manual to mechanical and more accurate or objective systems of representation. In Singular Images, Failed Copies, Maimon shows that the perception of the photographic image in the 1830s and 1840s was in fact symptomatic of a crisis in the epistemological framework that had informed philosophical, scientific, and aesthetic thought for two centuries.
Singular images, failed copies: William Henry Fox Talbot and the early photograph
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Focusing on early nineteenth-century England, and on the works and texts of the inventor of paper photography, William Henry Fox Talbot, Singular Images, Failed Copies historicizes the conceptualization of photography in that era as part of a major historical change. Treating photography not merely as a medium or a system of representation but also as an epistemology, Vered Maimon challenges today's prevalent association of the early photograph with the camera obscura. Instead, she points to material, formal, and conceptual differences between those two types of images by considering the philosophical and aesthetic premises linked with early photography. Through this analysis she argues that the emphasis in Talbot's accounts on the removal of the artist's hand in favor of the pencil of nature did not mark a shift from manual to mechanical and more accurate or objective systems of representation. In Singular Images, Failed Copies, Maimon shows that the perception of the photographic image in the 1830s and 1840s was in fact symptomatic of a crisis in the epistemological framework that had informed philosophical, scientific, and aesthetic thought for two centuries.
Classification:
livres
livres
Publication:
décembre 2015
décembre 2015
Sujet:
Théorie de la photographie
Théorie de la photographie
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livres
livres
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L'ère post-photographique se caractérise par le massification des images de même que par leur circulation et leur disponibilité sur Internet. Aux fractures ontologiques que la technologie numérique fait subir à la photographie s'ajoutent des mutations profondes de ses valeurs sociales et fonctionnelles. La culture visuelle post-photographique est ainsi marquée, d'un côté,(...)
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L'ère post-photographique se caractérise par le massification des images de même que par leur circulation et leur disponibilité sur Internet. Aux fractures ontologiques que la technologie numérique fait subir à la photographie s'ajoutent des mutations profondes de ses valeurs sociales et fonctionnelles. La culture visuelle post-photographique est ainsi marquée, d'un côté,(...)
Titre:
La condition post-photographique
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L'ère post-photographique se caractérise par le massification des images de même que par leur circulation et leur disponibilité sur Internet. Aux fractures ontologiques que la technologie numérique fait subir à la photographie s'ajoutent des mutations profondes de ses valeurs sociales et fonctionnelles. La culture visuelle post-photographique est ainsi marquée, d'un côté, par une virulente remise en question de la notion d'auteur et, de l'autre, par la légitimation des pratiques appropriationistes. Dans ce nouveau contexte, La condition post-photographique nous invite à nous interroger sur la nature de la création et sur les critères de l'«artisticité».
La condition post-photographique
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L'ère post-photographique se caractérise par le massification des images de même que par leur circulation et leur disponibilité sur Internet. Aux fractures ontologiques que la technologie numérique fait subir à la photographie s'ajoutent des mutations profondes de ses valeurs sociales et fonctionnelles. La culture visuelle post-photographique est ainsi marquée, d'un côté, par une virulente remise en question de la notion d'auteur et, de l'autre, par la légitimation des pratiques appropriationistes. Dans ce nouveau contexte, La condition post-photographique nous invite à nous interroger sur la nature de la création et sur les critères de l'«artisticité».
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livres
livres
Publication:
décembre 2015
décembre 2015
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For its 14th edition, Le Mois de la Photo à Montréal has produced a major reference book, edited by Joan Fontcuberta and illustrated with the works of the 29 artists exhibited in the biennial. In addition, leading experts in the field critically investigate the post-photographic condition, exploring communication and transmission of visual data in cyberspace, the(...)
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For its 14th edition, Le Mois de la Photo à Montréal has produced a major reference book, edited by Joan Fontcuberta and illustrated with the works of the 29 artists exhibited in the biennial. In addition, leading experts in the field critically investigate the post-photographic condition, exploring communication and transmission of visual data in cyberspace, the(...)
Titre:
The post-photographic condition
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For its 14th edition, Le Mois de la Photo à Montréal has produced a major reference book, edited by Joan Fontcuberta and illustrated with the works of the 29 artists exhibited in the biennial. In addition, leading experts in the field critically investigate the post-photographic condition, exploring communication and transmission of visual data in cyberspace, the boundaries of virtual reality, as well as the Internet as a new public space in which the proliferation of images reflect and shape the world. This publication challenges us to re-examine what photography is today. With essays by Joan Fontcuberta, Derrick de Kerckhove, Suzanne Paquet, Fred Ritchin, David Tomas.
The post-photographic condition
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For its 14th edition, Le Mois de la Photo à Montréal has produced a major reference book, edited by Joan Fontcuberta and illustrated with the works of the 29 artists exhibited in the biennial. In addition, leading experts in the field critically investigate the post-photographic condition, exploring communication and transmission of visual data in cyberspace, the boundaries of virtual reality, as well as the Internet as a new public space in which the proliferation of images reflect and shape the world. This publication challenges us to re-examine what photography is today. With essays by Joan Fontcuberta, Derrick de Kerckhove, Suzanne Paquet, Fred Ritchin, David Tomas.
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livres
livres
Publication:
décembre 2015
décembre 2015
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$32.50
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In the spring of 2010, the Brooklyn-based quarterly magazine Cabinet invited poet and cultural critic Wayne Koestenbaum to begin writing a regular column. Entitled "Legend," the column had a highly unusual premise. Every three months, the editors of the magazine would ask Koestenbaum to write one or more extended captions for a single photograph with which they had(...)
$32.50
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In the spring of 2010, the Brooklyn-based quarterly magazine Cabinet invited poet and cultural critic Wayne Koestenbaum to begin writing a regular column. Entitled "Legend," the column had a highly unusual premise. Every three months, the editors of the magazine would ask Koestenbaum to write one or more extended captions for a single photograph with which they had(...)
Titre:
Notes on glaze: 18 photographic investigations
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In the spring of 2010, the Brooklyn-based quarterly magazine Cabinet invited poet and cultural critic Wayne Koestenbaum to begin writing a regular column. Entitled "Legend," the column had a highly unusual premise. Every three months, the editors of the magazine would ask Koestenbaum to write one or more extended captions for a single photograph with which they had provided him; drawn from obscure vernacular, commercial and scientific sources, all of the images were unfamiliar to the author. After 18 installments, Koestenbaum concluded his column in the winter of 2015. 'Notes on Glaze', featuring an introductory essay by the author, collects all the "Legend" columns, as well as their accompanying photographs. Refusing the distancing language of critical disinterest, Koestenbaum’s columns always locate the author in intimate proximity to the subjects portrayed in the photographs and to the impossibly variegated cast of characters—ranging from Debbie Reynolds to Duccio, the Dalai Lama to Barbra Streisand; from Hegel to Pee-wee Herman, and Emily Dickinson to Cicciolina—that pass through these texts.
Notes on glaze: 18 photographic investigations
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In the spring of 2010, the Brooklyn-based quarterly magazine Cabinet invited poet and cultural critic Wayne Koestenbaum to begin writing a regular column. Entitled "Legend," the column had a highly unusual premise. Every three months, the editors of the magazine would ask Koestenbaum to write one or more extended captions for a single photograph with which they had provided him; drawn from obscure vernacular, commercial and scientific sources, all of the images were unfamiliar to the author. After 18 installments, Koestenbaum concluded his column in the winter of 2015. 'Notes on Glaze', featuring an introductory essay by the author, collects all the "Legend" columns, as well as their accompanying photographs. Refusing the distancing language of critical disinterest, Koestenbaum’s columns always locate the author in intimate proximity to the subjects portrayed in the photographs and to the impossibly variegated cast of characters—ranging from Debbie Reynolds to Duccio, the Dalai Lama to Barbra Streisand; from Hegel to Pee-wee Herman, and Emily Dickinson to Cicciolina—that pass through these texts.
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livres
livres
Publication:
avril 2016
avril 2016
Sujet:
Théorie de la photographie
Théorie de la photographie
Classification:
livres
livres
Titre:
Photographs of environmental phenomena: scientific images in the wake of environmental awareness
Photographs of environmental phenomena: scientific images in the wake of environmental awareness
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Well before today's debates on global warming and climate change, photographic images have played an important role in educating the general public about the wonders of nature and the destruction of the global environment. Most now-iconic images have historical precursors. Gisela Parak illuminates how the interrelationship of photography and science gave rise to a genre(...)
$58.00
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Well before today's debates on global warming and climate change, photographic images have played an important role in educating the general public about the wonders of nature and the destruction of the global environment. Most now-iconic images have historical precursors. Gisela Parak illuminates how the interrelationship of photography and science gave rise to a genre(...)
Titre:
Photographs of environmental phenomena: scientific images in the wake of environmental awareness
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Well before today's debates on global warming and climate change, photographic images have played an important role in educating the general public about the wonders of nature and the destruction of the global environment. Most now-iconic images have historical precursors. Gisela Parak illuminates how the interrelationship of photography and science gave rise to a genre of photographs of environmental phenomena. She emphasizes the power of these images to support and instruct the scientific pursuit of knowledge, as well as their potency as a means of persuading and shaping public opinion.
Photographs of environmental phenomena: scientific images in the wake of environmental awareness
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Well before today's debates on global warming and climate change, photographic images have played an important role in educating the general public about the wonders of nature and the destruction of the global environment. Most now-iconic images have historical precursors. Gisela Parak illuminates how the interrelationship of photography and science gave rise to a genre of photographs of environmental phenomena. She emphasizes the power of these images to support and instruct the scientific pursuit of knowledge, as well as their potency as a means of persuading and shaping public opinion.
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livres
livres
Publication:
janvier 2016
janvier 2016
Sujet:
Théorie de la photographie
Théorie de la photographie
Classification:
livres
livres
Titre:
The photographic object 1970
The photographic object 1970
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This publication proposes precedents for contemporary artists who continue to challenge traditional practices and categories. Mary Statzer has gathered a range of diverse materials, including contributions from Bunnell, Eva Respini and Drew Sawyer, Erin O’Toole, Lucy Soutter, and Rebecca Morse as well as interviews with Ellen Brooks, Michael de Courcy, Richard Jackson,(...)
$62.95
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This publication proposes precedents for contemporary artists who continue to challenge traditional practices and categories. Mary Statzer has gathered a range of diverse materials, including contributions from Bunnell, Eva Respini and Drew Sawyer, Erin O’Toole, Lucy Soutter, and Rebecca Morse as well as interviews with Ellen Brooks, Michael de Courcy, Richard Jackson,(...)
Titre:
The photographic object 1970
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$62.95
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This publication proposes precedents for contemporary artists who continue to challenge traditional practices and categories. Mary Statzer has gathered a range of diverse materials, including contributions from Bunnell, Eva Respini and Drew Sawyer, Erin O’Toole, Lucy Soutter, and Rebecca Morse as well as interviews with Ellen Brooks, Michael de Courcy, Richard Jackson, Jerry McMillan, and other of the exhibition’s surviving artists.
The photographic object 1970
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This publication proposes precedents for contemporary artists who continue to challenge traditional practices and categories. Mary Statzer has gathered a range of diverse materials, including contributions from Bunnell, Eva Respini and Drew Sawyer, Erin O’Toole, Lucy Soutter, and Rebecca Morse as well as interviews with Ellen Brooks, Michael de Courcy, Richard Jackson, Jerry McMillan, and other of the exhibition’s surviving artists.
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livres
livres
Publication:
février 2016
février 2016
Sujet:
Théorie de la photographie
Théorie de la photographie
