437 Résultats
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The cased photographic portrait was fashionable from the early 1840s until the end of the 1860s. Around it grew a considerable industry supplying everything from simple leather covered cases, to sophisticated creations in moulded thermoplastic. This book looks at the photographic portrait from daguerrotype to carte de visite, and at the range of cases in which it was(...)
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The cased photographic portrait was fashionable from the early 1840s until the end of the 1860s. Around it grew a considerable industry supplying everything from simple leather covered cases, to sophisticated creations in moulded thermoplastic. This book looks at the photographic portrait from daguerrotype to carte de visite, and at the range of cases in which it was(...)
Titre:
Case histories : the presentation of the photographic portrait 1840-1875
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The cased photographic portrait was fashionable from the early 1840s until the end of the 1860s. Around it grew a considerable industry supplying everything from simple leather covered cases, to sophisticated creations in moulded thermoplastic. This book looks at the photographic portrait from daguerrotype to carte de visite, and at the range of cases in which it was marketed. The cased Victorian photographic portrait was a sophisticated product, with the delicate hand-colouring of the image echoed in the colours of the protective velvet pad and trim with which the case was finished. Hitherto, the relationship between the portrait and its packaging and presentation has not been explored in book form. " Case histories " also highlights British manufacturers of cases and trims, and identifies the only British manufacturer yet found who made moulded thermoplastic cases. Such was the importance of the cased photographic portrait, that moulded picture cases were one of the world’s first uses for moulded plastic.
Case histories : the presentation of the photographic portrait 1840-1875
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Résumé:
The cased photographic portrait was fashionable from the early 1840s until the end of the 1860s. Around it grew a considerable industry supplying everything from simple leather covered cases, to sophisticated creations in moulded thermoplastic. This book looks at the photographic portrait from daguerrotype to carte de visite, and at the range of cases in which it was marketed. The cased Victorian photographic portrait was a sophisticated product, with the delicate hand-colouring of the image echoed in the colours of the protective velvet pad and trim with which the case was finished. Hitherto, the relationship between the portrait and its packaging and presentation has not been explored in book form. " Case histories " also highlights British manufacturers of cases and trims, and identifies the only British manufacturer yet found who made moulded thermoplastic cases. Such was the importance of the cased photographic portrait, that moulded picture cases were one of the world’s first uses for moulded plastic.
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livres
livres
Publication:
janvier 1900, Suffolk
janvier 1900, Suffolk
Sujet:
Théorie de la photographie
Théorie de la photographie
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livres
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The old dream of social belonging and political sovereignty--the dream of nation--was fraught with anxiety and contradiction for many artists and intellectuals in the 1950s. On the one hand, memories of the Second World War remained vivid and the chauvinism that had enabled it threatened to return with the growing tensions of the Cold War. On the other hand, the need to(...)
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Résumé:
The old dream of social belonging and political sovereignty--the dream of nation--was fraught with anxiety and contradiction for many artists and intellectuals in the 1950s. On the one hand, memories of the Second World War remained vivid and the chauvinism that had enabled it threatened to return with the growing tensions of the Cold War. On the other hand, the need to(...)
Titre:
The pivot of the world : photography and its nation
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The old dream of social belonging and political sovereignty--the dream of nation--was fraught with anxiety and contradiction for many artists and intellectuals in the 1950s. On the one hand, memories of the Second World War remained vivid and the chauvinism that had enabled it threatened to return with the growing tensions of the Cold War. On the other hand, the need to bind together into a new global identity--into a world nation or "family of man"--seemed ever more pressing as a bulwark against the rapidly expanding threat of a nuclear World War III. The Pivot of the World looks at an exceptional effort to work out that geopolitical tension by cultural means as developed in three hugely ambitious photographic projects: The Family of Man exhibition that opened in 1955 and traveled the world for the next decade; Robert Frank's influential book The Americans, photographed in 1955-1956 and first published in 1958; and Bernd and Hilla Becher's typological record of industrial architecture, begun in 1957 and continuing today. Each of these projects worked to release the dream of nation--of belonging and sovereignty--from its old civic trappings through the medium of photography's serial form, in the experience of one photograph followed by another and another and another, so that all seem at once intimately connected and at the same time autonomous and distinct. Innovations in the serial composition of photographic form could open new possibilities for social form while the modern desire for political belonging could be made cosmopolitan, could be globalized--but in the most human of ways. This epic sense of purpose lasted only for a moment--it had already passed by the beginning of the 1960s--but it bears particular interest for any historical understanding of the contest over globalization that continues to hold such great consequence for us now.
The pivot of the world : photography and its nation
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The old dream of social belonging and political sovereignty--the dream of nation--was fraught with anxiety and contradiction for many artists and intellectuals in the 1950s. On the one hand, memories of the Second World War remained vivid and the chauvinism that had enabled it threatened to return with the growing tensions of the Cold War. On the other hand, the need to bind together into a new global identity--into a world nation or "family of man"--seemed ever more pressing as a bulwark against the rapidly expanding threat of a nuclear World War III. The Pivot of the World looks at an exceptional effort to work out that geopolitical tension by cultural means as developed in three hugely ambitious photographic projects: The Family of Man exhibition that opened in 1955 and traveled the world for the next decade; Robert Frank's influential book The Americans, photographed in 1955-1956 and first published in 1958; and Bernd and Hilla Becher's typological record of industrial architecture, begun in 1957 and continuing today. Each of these projects worked to release the dream of nation--of belonging and sovereignty--from its old civic trappings through the medium of photography's serial form, in the experience of one photograph followed by another and another and another, so that all seem at once intimately connected and at the same time autonomous and distinct. Innovations in the serial composition of photographic form could open new possibilities for social form while the modern desire for political belonging could be made cosmopolitan, could be globalized--but in the most human of ways. This epic sense of purpose lasted only for a moment--it had already passed by the beginning of the 1960s--but it bears particular interest for any historical understanding of the contest over globalization that continues to hold such great consequence for us now.
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livres
livres
Publication:
janvier 2006, Cambridge, Mass.
janvier 2006, Cambridge, Mass.
Sujet:
Théorie de la photographie
Théorie de la photographie
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livres
livres
Titre:
On photography
On photography
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"On Photography" first appeared in 1977 and is described by its author as "a progress of essays about the meaning and career of photographs." It begins with the famous "In Plato’s Cave" essay, then offers five other prose meditations on this topic, and concludes with a fascinating and far-reaching "Brief Anthology of Quotations."
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"On Photography" first appeared in 1977 and is described by its author as "a progress of essays about the meaning and career of photographs." It begins with the famous "In Plato’s Cave" essay, then offers five other prose meditations on this topic, and concludes with a fascinating and far-reaching "Brief Anthology of Quotations."
Publication:
janvier 2001, New York
janvier 2001, New York
Titre:
On photography
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"On Photography" first appeared in 1977 and is described by its author as "a progress of essays about the meaning and career of photographs." It begins with the famous "In Plato’s Cave" essay, then offers five other prose meditations on this topic, and concludes with a fascinating and far-reaching "Brief Anthology of Quotations."
On photography
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Résumé:
"On Photography" first appeared in 1977 and is described by its author as "a progress of essays about the meaning and career of photographs." It begins with the famous "In Plato’s Cave" essay, then offers five other prose meditations on this topic, and concludes with a fascinating and far-reaching "Brief Anthology of Quotations."
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livres
livres
Publication:
janvier 2001, New York
janvier 2001, New York
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livres
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Loin d'un surréalisme onirique, ce recueil de textes montre le rôle de la photographie dans les stratégies du mouvement emmené par André Breton. La puissance du document assure, dans les années 1920-1930, le passage d'une culture artistique à une culture politique. Pour parvenir à cette conversion, la photographie donne une vision concrète des concepts surréalistes en(...)
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Loin d'un surréalisme onirique, ce recueil de textes montre le rôle de la photographie dans les stratégies du mouvement emmené par André Breton. La puissance du document assure, dans les années 1920-1930, le passage d'une culture artistique à une culture politique. Pour parvenir à cette conversion, la photographie donne une vision concrète des concepts surréalistes en(...)
Titre:
L'image au service de la révolution : photographie, surréalisme, politique
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Loin d'un surréalisme onirique, ce recueil de textes montre le rôle de la photographie dans les stratégies du mouvement emmené par André Breton. La puissance du document assure, dans les années 1920-1930, le passage d'une culture artistique à une culture politique. Pour parvenir à cette conversion, la photographie donne une vision concrète des concepts surréalistes en prenant pour modèle les révolutions scientifiques. L’image mentale devient, grâce à Dali, Brassaï ou encore Man Ray, une force objective susceptible d’engager l’avant-garde dans la grande histoire.
L'image au service de la révolution : photographie, surréalisme, politique
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Résumé:
Loin d'un surréalisme onirique, ce recueil de textes montre le rôle de la photographie dans les stratégies du mouvement emmené par André Breton. La puissance du document assure, dans les années 1920-1930, le passage d'une culture artistique à une culture politique. Pour parvenir à cette conversion, la photographie donne une vision concrète des concepts surréalistes en prenant pour modèle les révolutions scientifiques. L’image mentale devient, grâce à Dali, Brassaï ou encore Man Ray, une force objective susceptible d’engager l’avant-garde dans la grande histoire.
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livres
livres
Publication:
juin 2007, Paris
juin 2007, Paris
Sujet:
Théorie de la photographie
Théorie de la photographie
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livres
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$55.00
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Making a connection between photography and memory is almost automatic. Should it be? In Scissors, Paper, Stone Martha Langford explores the nature of memory and art. She challenges the conventional emphasis on the camera as a tool of perception by arguing that photographic works are products of the mind - picturing memory is, first and foremost, the expression of a(...)
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Making a connection between photography and memory is almost automatic. Should it be? In Scissors, Paper, Stone Martha Langford explores the nature of memory and art. She challenges the conventional emphasis on the camera as a tool of perception by arguing that photographic works are products of the mind - picturing memory is, first and foremost, the expression of a(...)
Sujet:
Théorie de la photographie
Théorie de la photographie
Publication:
juin 2007, Montreal Kingston London Ithica
juin 2007, Montreal Kingston London Ithica
Titre:
Scissors, paper, stone : Expressions of memory in contemporary photographic art
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Making a connection between photography and memory is almost automatic. Should it be? In Scissors, Paper, Stone Martha Langford explores the nature of memory and art. She challenges the conventional emphasis on the camera as a tool of perception by arguing that photographic works are products of the mind - picturing memory is, first and foremost, the expression of a mental process. Langford organizes the book around the conceit of the child's game scissors, paper, stone, using it to ground her discussion of the tensions between remembering and forgetting, the intersection of memory and imagination, and the relationship between memory and history. Scissors, Paper, Stone explores the great variety of photographic art produced by Canadian artists as expressions of memory. Their work, including images by Carl Beam, Carole Condé and Karl Beveridge, Donigan Cumming, Stan Denniston, Robert Houle, Robert Minden, Michael Snow, Diana Thorneycroft, Jeff Wall, and Jin-me Yoon, is presented as part of a rich interdisciplinary study of contemporary photography and how it has shaped modern memory.
Scissors, paper, stone : Expressions of memory in contemporary photographic art
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Making a connection between photography and memory is almost automatic. Should it be? In Scissors, Paper, Stone Martha Langford explores the nature of memory and art. She challenges the conventional emphasis on the camera as a tool of perception by arguing that photographic works are products of the mind - picturing memory is, first and foremost, the expression of a mental process. Langford organizes the book around the conceit of the child's game scissors, paper, stone, using it to ground her discussion of the tensions between remembering and forgetting, the intersection of memory and imagination, and the relationship between memory and history. Scissors, Paper, Stone explores the great variety of photographic art produced by Canadian artists as expressions of memory. Their work, including images by Carl Beam, Carole Condé and Karl Beveridge, Donigan Cumming, Stan Denniston, Robert Houle, Robert Minden, Michael Snow, Diana Thorneycroft, Jeff Wall, and Jin-me Yoon, is presented as part of a rich interdisciplinary study of contemporary photography and how it has shaped modern memory.
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livres
livres
Publication:
juin 2007, Montreal Kingston London Ithica
juin 2007, Montreal Kingston London Ithica
Sujet:
Théorie de la photographie
Théorie de la photographie
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livres
livres
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$42.00
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This volume presents more than 150 works from the collection of the Miami-raised and New York-based collector, art dealer and curator Charles Cowles. Spanning the breadth of modern photographic history from the early twentieth-century to the present, these works display a broad range of styles, processes and aesthetic intentions and an impressive number of concentrated(...)
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This volume presents more than 150 works from the collection of the Miami-raised and New York-based collector, art dealer and curator Charles Cowles. Spanning the breadth of modern photographic history from the early twentieth-century to the present, these works display a broad range of styles, processes and aesthetic intentions and an impressive number of concentrated(...)
Titre:
Modern Photographs : The machine the body and the city
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This volume presents more than 150 works from the collection of the Miami-raised and New York-based collector, art dealer and curator Charles Cowles. Spanning the breadth of modern photographic history from the early twentieth-century to the present, these works display a broad range of styles, processes and aesthetic intentions and an impressive number of concentrated strengths--featuring works by Atget, Arbus, Cartier-Bresson, Eggleston, Evans, Hockney, Frank, Mapplethorpe, Ruscha, Schorr, Sherman, Sugimoto, Warhol, Weegee and Winogrand, among many others. Renowned photography critic Andy Grundberg presents a precise analysis of the collection along with studied observations about the nature of photography and how it has become the art form that it is today. Cowles provides an engaging inside look at the development of a collection in an era when photography gained acceptance as an acknowledged art form. And Miami Art Museum Director Terence Riley contributes an introduction.
Modern Photographs : The machine the body and the city
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$42.00
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Résumé:
This volume presents more than 150 works from the collection of the Miami-raised and New York-based collector, art dealer and curator Charles Cowles. Spanning the breadth of modern photographic history from the early twentieth-century to the present, these works display a broad range of styles, processes and aesthetic intentions and an impressive number of concentrated strengths--featuring works by Atget, Arbus, Cartier-Bresson, Eggleston, Evans, Hockney, Frank, Mapplethorpe, Ruscha, Schorr, Sherman, Sugimoto, Warhol, Weegee and Winogrand, among many others. Renowned photography critic Andy Grundberg presents a precise analysis of the collection along with studied observations about the nature of photography and how it has become the art form that it is today. Cowles provides an engaging inside look at the development of a collection in an era when photography gained acceptance as an acknowledged art form. And Miami Art Museum Director Terence Riley contributes an introduction.
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livres
livres
Publication:
juin 2007, Miami
juin 2007, Miami
Sujet:
Théorie de la photographie
Théorie de la photographie
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livres
livres
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$89.95
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Après les succès de Vitamine P et Vitamine D, deux ouvrages témoignant respectivement, du dynamisme de la peinture, puis de celui du dessin, au sein de la création artistique la plus récente, Vitamine Ph administre une dose supplémentaire de vitalité artistique, en offrant d explorer la place prépondérante du médium photographique dans les arts visuels aujourd hui.(...)
$89.95
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Après les succès de Vitamine P et Vitamine D, deux ouvrages témoignant respectivement, du dynamisme de la peinture, puis de celui du dessin, au sein de la création artistique la plus récente, Vitamine Ph administre une dose supplémentaire de vitalité artistique, en offrant d explorer la place prépondérante du médium photographique dans les arts visuels aujourd hui.(...)
Titre:
Vitamine Ph : nouvelles perspectives en photographie
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Après les succès de Vitamine P et Vitamine D, deux ouvrages témoignant respectivement, du dynamisme de la peinture, puis de celui du dessin, au sein de la création artistique la plus récente, Vitamine Ph administre une dose supplémentaire de vitalité artistique, en offrant d explorer la place prépondérante du médium photographique dans les arts visuels aujourd hui. "Vitamine Ph : nouvelles perspective en photographie", présente ainsi les travaux photographiques de 121 artistes, originaires de plus de trente pays différents, et sélectionnés par un comité international composé d éminents critiques, commissaires d exposition et directeurs de musées. L'introduction à cette sélection audacieuse, TJ Demos examine l'évolution de la pratique photographique par les artistes qui en repoussent toujours plus loin les limites. Les artistes de Vitamine Ph renouvellent et réinventent ainsi les genres photographiques - de la photographie documentaire à celle dite «artistique», de la photographie héritée de l art conceptuel mêlant images et texte à la photographie «performative». Sont présents les travaux d artistes établis tels que ceux de Tacita Dean, Olafur Eliasson, ou Peter Fraser comme ceux des figures montantes parmi lesquelles, Anri Sala, Tim Lee, et les français Ito Barrada et Valérie Belin.
Vitamine Ph : nouvelles perspectives en photographie
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Après les succès de Vitamine P et Vitamine D, deux ouvrages témoignant respectivement, du dynamisme de la peinture, puis de celui du dessin, au sein de la création artistique la plus récente, Vitamine Ph administre une dose supplémentaire de vitalité artistique, en offrant d explorer la place prépondérante du médium photographique dans les arts visuels aujourd hui. "Vitamine Ph : nouvelles perspective en photographie", présente ainsi les travaux photographiques de 121 artistes, originaires de plus de trente pays différents, et sélectionnés par un comité international composé d éminents critiques, commissaires d exposition et directeurs de musées. L'introduction à cette sélection audacieuse, TJ Demos examine l'évolution de la pratique photographique par les artistes qui en repoussent toujours plus loin les limites. Les artistes de Vitamine Ph renouvellent et réinventent ainsi les genres photographiques - de la photographie documentaire à celle dite «artistique», de la photographie héritée de l art conceptuel mêlant images et texte à la photographie «performative». Sont présents les travaux d artistes établis tels que ceux de Tacita Dean, Olafur Eliasson, ou Peter Fraser comme ceux des figures montantes parmi lesquelles, Anri Sala, Tim Lee, et les français Ito Barrada et Valérie Belin.
Classification:
livres
livres
Publication:
juin 2007, Paris
juin 2007, Paris
Sujet:
Théorie de la photographie
Théorie de la photographie
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livres
livres
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$24.00
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The vitality of New York City, its energy, ambition and beauty, has long inspired great photographers, from Berenice Abbott to Garry Winogrand, from Lisette Model to Lee Friedlander. Composed of works selected from the collection of The Museum of Modern Art, Life of the City celebrates the great and continuing tradition of photography about New York. Featuring work by(...)
$24.00
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The vitality of New York City, its energy, ambition and beauty, has long inspired great photographers, from Berenice Abbott to Garry Winogrand, from Lisette Model to Lee Friedlander. Composed of works selected from the collection of The Museum of Modern Art, Life of the City celebrates the great and continuing tradition of photography about New York. Featuring work by(...)
Sujet:
Théorie de la photographie
Théorie de la photographie
Publication:
octobre 2007, New York
octobre 2007, New York
Titre:
Life of the city: New York photographs from the museum of modern art
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$24.00
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The vitality of New York City, its energy, ambition and beauty, has long inspired great photographers, from Berenice Abbott to Garry Winogrand, from Lisette Model to Lee Friedlander. Composed of works selected from the collection of The Museum of Modern Art, Life of the City celebrates the great and continuing tradition of photography about New York. Featuring work by Harry Callahan, Henri Cartier-Bresson, Irving Penn, Alfred Stieglitz, Weegee and many others, and including a chapter of writings by notable observers of the city, the book explores the drama of New York's architecture, ranging from cavernous brick canyons and towering stone pinnacles to humble storefronts and tenements.
Life of the city: New York photographs from the museum of modern art
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$24.00
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The vitality of New York City, its energy, ambition and beauty, has long inspired great photographers, from Berenice Abbott to Garry Winogrand, from Lisette Model to Lee Friedlander. Composed of works selected from the collection of The Museum of Modern Art, Life of the City celebrates the great and continuing tradition of photography about New York. Featuring work by Harry Callahan, Henri Cartier-Bresson, Irving Penn, Alfred Stieglitz, Weegee and many others, and including a chapter of writings by notable observers of the city, the book explores the drama of New York's architecture, ranging from cavernous brick canyons and towering stone pinnacles to humble storefronts and tenements.
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livres
livres
Publication:
octobre 2007, New York
octobre 2007, New York
Sujet:
Théorie de la photographie
Théorie de la photographie
Classification:
livres
livres
Prix:
$27.95
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Résumé:
What place do images hold among other kinds of historical evidence? In Eyewitnessing, Peter Burke reviews graphics, photographs, films and other media from many countries and periods and examines their pragmatic uses. This profusely illustrated book surveys the oppotunities and the challenges of using images to understand other times.
$27.95
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Résumé:
What place do images hold among other kinds of historical evidence? In Eyewitnessing, Peter Burke reviews graphics, photographs, films and other media from many countries and periods and examines their pragmatic uses. This profusely illustrated book surveys the oppotunities and the challenges of using images to understand other times.
Titre:
Eyewitnessing: The use of Images as Historical Evidence
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What place do images hold among other kinds of historical evidence? In Eyewitnessing, Peter Burke reviews graphics, photographs, films and other media from many countries and periods and examines their pragmatic uses. This profusely illustrated book surveys the oppotunities and the challenges of using images to understand other times.
Eyewitnessing: The use of Images as Historical Evidence
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What place do images hold among other kinds of historical evidence? In Eyewitnessing, Peter Burke reviews graphics, photographs, films and other media from many countries and periods and examines their pragmatic uses. This profusely illustrated book surveys the oppotunities and the challenges of using images to understand other times.
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livres
livres
Publication:
mars 2008
mars 2008
Sujet:
Théorie de la photographie
Théorie de la photographie
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livres
livres
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$32.95
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Artiste contemporain majeur, Sigmar Polke reste pourtant mal connu du public français. Interroger ses pratiques photographiques permet de mesurer l'importance d'expérimentations remontant aux années 1960. Xavier Domino nous présente, non sans humour, le large spectre des protocoles mis en œuvre et des résultats obtenus. À la description des éléments constitutifs de la (...)
$32.95
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Résumé:
Artiste contemporain majeur, Sigmar Polke reste pourtant mal connu du public français. Interroger ses pratiques photographiques permet de mesurer l'importance d'expérimentations remontant aux années 1960. Xavier Domino nous présente, non sans humour, le large spectre des protocoles mis en œuvre et des résultats obtenus. À la description des éléments constitutifs de la (...)
Titre:
Le photographique chez Sigmar Polke
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Artiste contemporain majeur, Sigmar Polke reste pourtant mal connu du public français. Interroger ses pratiques photographiques permet de mesurer l'importance d'expérimentations remontant aux années 1960. Xavier Domino nous présente, non sans humour, le large spectre des protocoles mis en œuvre et des résultats obtenus. À la description des éléments constitutifs de la «Polkographie», fait suite un «No medium's land» où voisinent photocopies et peintures; enfin, en «Photopolkie», le photographique ouvre à une compréhension globale de l'œuvre, et fonde son originalité, au croisement improbable du Pop Art et du post-modernisme.
Le photographique chez Sigmar Polke
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Résumé:
Artiste contemporain majeur, Sigmar Polke reste pourtant mal connu du public français. Interroger ses pratiques photographiques permet de mesurer l'importance d'expérimentations remontant aux années 1960. Xavier Domino nous présente, non sans humour, le large spectre des protocoles mis en œuvre et des résultats obtenus. À la description des éléments constitutifs de la «Polkographie», fait suite un «No medium's land» où voisinent photocopies et peintures; enfin, en «Photopolkie», le photographique ouvre à une compréhension globale de l'œuvre, et fonde son originalité, au croisement improbable du Pop Art et du post-modernisme.
Classification:
livres
livres
Publication:
mai 2007, Paris
mai 2007, Paris
Sujet:
Théorie de la photographie
Théorie de la photographie
