444 Résultats
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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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Résumé:
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.
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livres
livres
Publication:
juillet 2021
juillet 2021
Sujet:
Théorie de la photographie
Théorie de la photographie
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livres
livres
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A fascinating exploration of how photography, graphic design, and popular magazines converged to transform American visual culture at mid-century This dynamic study examines the intersection of modernist photography and American commercial graphic design between 1930 and 1960. Avant-garde strategies in photography and design reached the United States via European(...)
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A fascinating exploration of how photography, graphic design, and popular magazines converged to transform American visual culture at mid-century This dynamic study examines the intersection of modernist photography and American commercial graphic design between 1930 and 1960. Avant-garde strategies in photography and design reached the United States via European(...)
Titre:
Modern look: photography and the American magazine
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A fascinating exploration of how photography, graphic design, and popular magazines converged to transform American visual culture at mid-century This dynamic study examines the intersection of modernist photography and American commercial graphic design between 1930 and 1960. Avant-garde strategies in photography and design reached the United States via European emigres, including Bauhaus artists forced out of Nazi Germany. The unmistakable aesthetic made popular by such magazines as Harper's Bazaar and Vogue-whose art directors, Alexey Brodovitch and Alexander Liberman, were both immigrants and accomplished photographers-emerged from a distinctly American combination of innovation, inclusiveness, and pragmatism. With more than 150 revolutionary photographs, layouts, and cover designs, 'Modern Look' considers the connections and mutual influences of such designers and photographers as Richard Avedon, Lillian Bassman, Herbert Bayer, Robert Frank, Lisette Model, Gordon Parks, Irving Penn, Cipe Pineles, and Paul Rand.
Modern look: photography and the American magazine
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A fascinating exploration of how photography, graphic design, and popular magazines converged to transform American visual culture at mid-century This dynamic study examines the intersection of modernist photography and American commercial graphic design between 1930 and 1960. Avant-garde strategies in photography and design reached the United States via European emigres, including Bauhaus artists forced out of Nazi Germany. The unmistakable aesthetic made popular by such magazines as Harper's Bazaar and Vogue-whose art directors, Alexey Brodovitch and Alexander Liberman, were both immigrants and accomplished photographers-emerged from a distinctly American combination of innovation, inclusiveness, and pragmatism. With more than 150 revolutionary photographs, layouts, and cover designs, 'Modern Look' considers the connections and mutual influences of such designers and photographers as Richard Avedon, Lillian Bassman, Herbert Bayer, Robert Frank, Lisette Model, Gordon Parks, Irving Penn, Cipe Pineles, and Paul Rand.
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livres
livres
Publication:
mai 2020
mai 2020
Sujet:
Théorie de la photographie
Théorie de la photographie
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livres
livres
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Architecture and photography are both semi-autonomous disciplines, suspended between the fine arts and the utilitarian. Because of this condition, realism is considered a given in both, something that happens almost by default. As soon as a building is inhabited it becomes the backdrop for somebody's everyday drama - just like a photograph that, the moment it is taken, is(...)
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Architecture and photography are both semi-autonomous disciplines, suspended between the fine arts and the utilitarian. Because of this condition, realism is considered a given in both, something that happens almost by default. As soon as a building is inhabited it becomes the backdrop for somebody's everyday drama - just like a photograph that, the moment it is taken, is(...)
Titre:
Epics in the everyday: photography, architecture, and the problem of realism
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Architecture and photography are both semi-autonomous disciplines, suspended between the fine arts and the utilitarian. Because of this condition, realism is considered a given in both, something that happens almost by default. As soon as a building is inhabited it becomes the backdrop for somebody's everyday drama - just like a photograph that, the moment it is taken, is understood as an automatic record of whatever was in front of the camera. In his new book, Jesus Vassallo traces a series of collaborations between architects and photographers starting in the immediate post-war years and up to the present. Consistently, the subject matter of these collaborations is the anonymous built environment, which in different ways presents both architects and artists with a mirror that interrogates and challenges the idea of realism in their respective disciplines.
Epics in the everyday: photography, architecture, and the problem of realism
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Architecture and photography are both semi-autonomous disciplines, suspended between the fine arts and the utilitarian. Because of this condition, realism is considered a given in both, something that happens almost by default. As soon as a building is inhabited it becomes the backdrop for somebody's everyday drama - just like a photograph that, the moment it is taken, is understood as an automatic record of whatever was in front of the camera. In his new book, Jesus Vassallo traces a series of collaborations between architects and photographers starting in the immediate post-war years and up to the present. Consistently, the subject matter of these collaborations is the anonymous built environment, which in different ways presents both architects and artists with a mirror that interrogates and challenges the idea of realism in their respective disciplines.
Classification:
livres
livres
Publication:
mars 2020
mars 2020
Sujet:
Théorie de la photographie
Théorie de la photographie
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livres
livres
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''The tension implicit in any photograph is the tension between an inert, black-and-white, two-dimensional object, and an event that actually existed in the phenomenal world. A successful photograph mediates, though never completely resolves that tension.'' In 1972, as his career was beginning to take off, Lewis Baltz conducted a revealing interview, his first considered(...)
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''The tension implicit in any photograph is the tension between an inert, black-and-white, two-dimensional object, and an event that actually existed in the phenomenal world. A successful photograph mediates, though never completely resolves that tension.'' In 1972, as his career was beginning to take off, Lewis Baltz conducted a revealing interview, his first considered(...)
Titre:
An interview with Lewis Baltz
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''The tension implicit in any photograph is the tension between an inert, black-and-white, two-dimensional object, and an event that actually existed in the phenomenal world. A successful photograph mediates, though never completely resolves that tension.'' In 1972, as his career was beginning to take off, Lewis Baltz conducted a revealing interview, his first considered statement about photography. Never published, the interview has recently resurfaced, and is printed here for the first time. In an increasingly sardonic exchange Baltz describes the character of his practice, articulates his position within and against the world of photography, and comments on his intellectual heritage and professional ambition. A penetrating exploration of the character of his medium, Baltz’s artistry and mercurial presence are strikingly laid bare.
An interview with Lewis Baltz
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''The tension implicit in any photograph is the tension between an inert, black-and-white, two-dimensional object, and an event that actually existed in the phenomenal world. A successful photograph mediates, though never completely resolves that tension.'' In 1972, as his career was beginning to take off, Lewis Baltz conducted a revealing interview, his first considered statement about photography. Never published, the interview has recently resurfaced, and is printed here for the first time. In an increasingly sardonic exchange Baltz describes the character of his practice, articulates his position within and against the world of photography, and comments on his intellectual heritage and professional ambition. A penetrating exploration of the character of his medium, Baltz’s artistry and mercurial presence are strikingly laid bare.
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livres
livres
Publication:
août 2020
août 2020
Sujet:
Théorie de la photographie
Théorie de la photographie
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livres
livres
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$18.00
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Confronting the work of widely celebrated photographers Annie Leibovitz, Gregory Crewdson and Andreas Gursky, Photography’s Neoliberal Realism examines how these artists produce capitalism’s equivalent of the Soviet Union’s socialist realism by giving photographic form to widely held and rarely questioned beliefs and ideas. The ideological framework that Colberg terms(...)
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Confronting the work of widely celebrated photographers Annie Leibovitz, Gregory Crewdson and Andreas Gursky, Photography’s Neoliberal Realism examines how these artists produce capitalism’s equivalent of the Soviet Union’s socialist realism by giving photographic form to widely held and rarely questioned beliefs and ideas. The ideological framework that Colberg terms(...)
Titre:
Photography's Neoliberal Realism
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Confronting the work of widely celebrated photographers Annie Leibovitz, Gregory Crewdson and Andreas Gursky, Photography’s Neoliberal Realism examines how these artists produce capitalism’s equivalent of the Soviet Union’s socialist realism by giving photographic form to widely held and rarely questioned beliefs and ideas. The ideological framework that Colberg terms ‘neoliberal realism’ serves to cement an economic system whose many fault lines are becoming increasingly clear, such as staggering inequality and racial disparities. This extended essay provides an alternative reading of photographic works laden with artifice, and argues how focusing on this artifice misses the more far-reaching ways such images operate in our visual economy.
Photography's Neoliberal Realism
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Confronting the work of widely celebrated photographers Annie Leibovitz, Gregory Crewdson and Andreas Gursky, Photography’s Neoliberal Realism examines how these artists produce capitalism’s equivalent of the Soviet Union’s socialist realism by giving photographic form to widely held and rarely questioned beliefs and ideas. The ideological framework that Colberg terms ‘neoliberal realism’ serves to cement an economic system whose many fault lines are becoming increasingly clear, such as staggering inequality and racial disparities. This extended essay provides an alternative reading of photographic works laden with artifice, and argues how focusing on this artifice misses the more far-reaching ways such images operate in our visual economy.
Classification:
livres
livres
Publication:
novembre 2020
novembre 2020
Sujet:
Théorie de la photographie
Théorie de la photographie
Classification:
livres
livres
Titre:
The parameters of our cage
The parameters of our cage
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In January 2020, Alec Soth received a letter from Chris Fausto Cabrera, an inmate of the Minnesota Correctional Facility in Rush City, in which he asked the photographer to engage in a dialogue. This sparked an expansive and insightful correspondence over the following nine months which, set against the backdrop of the COVID-19 pandemic, Black Lives Matter Movement and(...)
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In January 2020, Alec Soth received a letter from Chris Fausto Cabrera, an inmate of the Minnesota Correctional Facility in Rush City, in which he asked the photographer to engage in a dialogue. This sparked an expansive and insightful correspondence over the following nine months which, set against the backdrop of the COVID-19 pandemic, Black Lives Matter Movement and(...)
Titre:
The parameters of our cage
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In January 2020, Alec Soth received a letter from Chris Fausto Cabrera, an inmate of the Minnesota Correctional Facility in Rush City, in which he asked the photographer to engage in a dialogue. This sparked an expansive and insightful correspondence over the following nine months which, set against the backdrop of the COVID-19 pandemic, Black Lives Matter Movement and growing unrest, reaches to the heart of contemporary America. In amongst their exchanges of personal histories and shared influences – from Ralph Ellison’s The Invisible Man and André 3000, to Robert Frank’s The Americans and Rilke’s 'Letters to a Young Poet' – developed a searing investigation of the redemptive power of art and the imagination, justice and accountability, life inside America’s prisons, and the astonishing capacity of empathy and curiosity to bring two people together.
The parameters of our cage
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Résumé:
In January 2020, Alec Soth received a letter from Chris Fausto Cabrera, an inmate of the Minnesota Correctional Facility in Rush City, in which he asked the photographer to engage in a dialogue. This sparked an expansive and insightful correspondence over the following nine months which, set against the backdrop of the COVID-19 pandemic, Black Lives Matter Movement and growing unrest, reaches to the heart of contemporary America. In amongst their exchanges of personal histories and shared influences – from Ralph Ellison’s The Invisible Man and André 3000, to Robert Frank’s The Americans and Rilke’s 'Letters to a Young Poet' – developed a searing investigation of the redemptive power of art and the imagination, justice and accountability, life inside America’s prisons, and the astonishing capacity of empathy and curiosity to bring two people together.
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livres
livres
Publication:
octobre 2020
octobre 2020
Sujet:
Théorie de la photographie
Théorie de la photographie
Classification:
livres
livres
Titre:
Holding a camera
Holding a camera
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Artist Alberto Vieceli compiles the strange, humorous and aslant images designed to teach a neophyte camera user how to use their new device. Before one’s camera was one’s phone, the camera makers of the world had to explain the possible uses of their product in the space of a few pages of a user’s manual. How one tilts the camera, holds it with both hands in front of the(...)
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Artist Alberto Vieceli compiles the strange, humorous and aslant images designed to teach a neophyte camera user how to use their new device. Before one’s camera was one’s phone, the camera makers of the world had to explain the possible uses of their product in the space of a few pages of a user’s manual. How one tilts the camera, holds it with both hands in front of the(...)
Sujet:
Théorie de la photographie
Théorie de la photographie
Publication:
septembre 2020
septembre 2020
Titre:
Holding a camera
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Artist Alberto Vieceli compiles the strange, humorous and aslant images designed to teach a neophyte camera user how to use their new device. Before one’s camera was one’s phone, the camera makers of the world had to explain the possible uses of their product in the space of a few pages of a user’s manual. How one tilts the camera, holds it with both hands in front of the waist. How one looks through the viewfinder, gazes one-eyed into the world. How one hides it in stockings, behind the back, and how one lets it peep out from behind the corner of a building, as though he or she were a detective. ''Holding the camera'' shows a pictorial genre from the now extinct era of analog photography. These images that were once distributed a million times over in instructions and advertisements, had almost entirely disappeared from culture, until now.
Holding a camera
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Artist Alberto Vieceli compiles the strange, humorous and aslant images designed to teach a neophyte camera user how to use their new device. Before one’s camera was one’s phone, the camera makers of the world had to explain the possible uses of their product in the space of a few pages of a user’s manual. How one tilts the camera, holds it with both hands in front of the waist. How one looks through the viewfinder, gazes one-eyed into the world. How one hides it in stockings, behind the back, and how one lets it peep out from behind the corner of a building, as though he or she were a detective. ''Holding the camera'' shows a pictorial genre from the now extinct era of analog photography. These images that were once distributed a million times over in instructions and advertisements, had almost entirely disappeared from culture, until now.
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livres
livres
Publication:
septembre 2020
septembre 2020
Sujet:
Théorie de la photographie
Théorie de la photographie
Classification:
livres
livres
Titre:
On photographs
On photographs
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In ''On photographs,'' curator and writer David Campany presents an exploration of photography in 120 photographs. Proceeding not by chronology or genre or photographer, Campany’s eclectic selection unfolds according to its own logic. We see work by Henri Cartier-Bresson, William Eggleston, Helen Levitt, Garry Winogrand, Yves Louise Lawler, Andreas Gursky, and Rineke(...)
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In ''On photographs,'' curator and writer David Campany presents an exploration of photography in 120 photographs. Proceeding not by chronology or genre or photographer, Campany’s eclectic selection unfolds according to its own logic. We see work by Henri Cartier-Bresson, William Eggleston, Helen Levitt, Garry Winogrand, Yves Louise Lawler, Andreas Gursky, and Rineke(...)
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On photographs
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In ''On photographs,'' curator and writer David Campany presents an exploration of photography in 120 photographs. Proceeding not by chronology or genre or photographer, Campany’s eclectic selection unfolds according to its own logic. We see work by Henri Cartier-Bresson, William Eggleston, Helen Levitt, Garry Winogrand, Yves Louise Lawler, Andreas Gursky, and Rineke Dijkstra. There is fashion photography by William Klein, one of Vivian Maier’s contact sheets, and a carefully staged scene by Gregory Crewdson, as well as images culled from magazines and advertisements. Each of the 120 photographs is accompanied by Campany’s lucid and incisive commentary, considering the history of that image and its creator, interpreting its content and meaning, and connecting and contextualizing it with visual culture. Image by image, we absorb and appreciate Campany’s complex yet playful take on photography and its history.
On photographs
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In ''On photographs,'' curator and writer David Campany presents an exploration of photography in 120 photographs. Proceeding not by chronology or genre or photographer, Campany’s eclectic selection unfolds according to its own logic. We see work by Henri Cartier-Bresson, William Eggleston, Helen Levitt, Garry Winogrand, Yves Louise Lawler, Andreas Gursky, and Rineke Dijkstra. There is fashion photography by William Klein, one of Vivian Maier’s contact sheets, and a carefully staged scene by Gregory Crewdson, as well as images culled from magazines and advertisements. Each of the 120 photographs is accompanied by Campany’s lucid and incisive commentary, considering the history of that image and its creator, interpreting its content and meaning, and connecting and contextualizing it with visual culture. Image by image, we absorb and appreciate Campany’s complex yet playful take on photography and its history.
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livres
livres
Publication:
octobre 2020
octobre 2020
Sujet:
Théorie de la photographie
Théorie de la photographie
Classification:
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.
Classification:
livres
livres
Publication:
janvier 2017
janvier 2017
Sujet:
Théorie de la photographie
Théorie de la photographie
Classification:
livres
livres
Titre:
Photography and doubt
Photography and doubt
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Résumé:
Recent decades have seen photography’s privileged relationship to the real come under question. Spurred by the postmodern critique of photography in the 1980s and the rise of digital technologies soon thereafter, scholars have been asking who and what built this understanding of the medium in the first place. "Photography and doubt" reflects on this interest in(...)
$69.90
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Résumé:
Recent decades have seen photography’s privileged relationship to the real come under question. Spurred by the postmodern critique of photography in the 1980s and the rise of digital technologies soon thereafter, scholars have been asking who and what built this understanding of the medium in the first place. "Photography and doubt" reflects on this interest in(...)
Sujet:
Théorie de la photographie
Théorie de la photographie
Publication:
janvier 2017
janvier 2017
Titre:
Photography and doubt
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$69.90
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Résumé:
Recent decades have seen photography’s privileged relationship to the real come under question. Spurred by the postmodern critique of photography in the 1980s and the rise of digital technologies soon thereafter, scholars have been asking who and what built this understanding of the medium in the first place. "Photography and doubt" reflects on this interest in photography’s referential power by discussing it in rigorously historical terms. How was the understanding of photographic realism cultivated in the first place? What do cases of staged and manipulated photography reveal about that realism’s hold on audiences across the medium’s history? Have doubts about photography’s testimonial power stimulated as much knowledge as its realism?
Photography and doubt
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Résumé:
Recent decades have seen photography’s privileged relationship to the real come under question. Spurred by the postmodern critique of photography in the 1980s and the rise of digital technologies soon thereafter, scholars have been asking who and what built this understanding of the medium in the first place. "Photography and doubt" reflects on this interest in photography’s referential power by discussing it in rigorously historical terms. How was the understanding of photographic realism cultivated in the first place? What do cases of staged and manipulated photography reveal about that realism’s hold on audiences across the medium’s history? Have doubts about photography’s testimonial power stimulated as much knowledge as its realism?
Classification:
livres
livres
Publication:
janvier 2017
janvier 2017
Sujet:
Théorie de la photographie
Théorie de la photographie
