Camera Atomica
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An exploration of how the camera lens has shaped public perceptions of the atomic age and its legacy of anxiety. The images featured are extremely vivid and were taken by photographers including Weegee, Barbara Kruger, Sandy Skoglund and Garry Winogrand from some of the nuclear events from 1945 onwards.
Camera Atomica
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An exploration of how the camera lens has shaped public perceptions of the atomic age and its legacy of anxiety. The images featured are extremely vivid and were taken by photographers including Weegee, Barbara Kruger, Sandy Skoglund and Garry Winogrand from some of the nuclear events from 1945 onwards.
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New Scandinavian photography
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Focusing on the last ten years, New Scandinavian Photography highlights the work produced by a diverse range of artists who are exploring and manipulating the use of photography in their practices and explores photography as a medium through academic texts and interviews, addressing the technical and material properties of photography in the context of fine art and(...)
New Scandinavian photography
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Focusing on the last ten years, New Scandinavian Photography highlights the work produced by a diverse range of artists who are exploring and manipulating the use of photography in their practices and explores photography as a medium through academic texts and interviews, addressing the technical and material properties of photography in the context of fine art and pan-media practice with a focus on the exhibition room as well as printed matter. Through critical examination and personal interviews, the book showcases established names in the photographic art scene such as Asger Carlsen and Emil Salto, along with emerging talents that include Marten Lange and Marthe Elise Stramund. A key focus is upon artist’s use of photography as a medium, along with their methods of presentation, from the white cube gallery space to intimate printed matter.
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$89.00
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The book examines how photos are used to digitally reproduce, inform about, and archive buildings. Moreover, it is dedicated to the concept of the use of a building being the visual content of architectural photography, and also questions how the photograph influences the constructed reality.
On the uses of architectural photography
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The book examines how photos are used to digitally reproduce, inform about, and archive buildings. Moreover, it is dedicated to the concept of the use of a building being the visual content of architectural photography, and also questions how the photograph influences the constructed reality.
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Women in trees
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“You know, I don’t know how one can walk by a tree and not be happy at the sight of it?” writes Fyodor Dostoyevsky in The Idiot. Perhaps this sentence might explain the subject of women in trees that was so popular between the 1920s and ‘50s and has until now never before been assembled in a book. The enthusiastic collector Jochen Raiss discovered this motif during his(...)
Women in trees
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“You know, I don’t know how one can walk by a tree and not be happy at the sight of it?” writes Fyodor Dostoyevsky in The Idiot. Perhaps this sentence might explain the subject of women in trees that was so popular between the 1920s and ‘50s and has until now never before been assembled in a book. The enthusiastic collector Jochen Raiss discovered this motif during his flea market excursions. These photographs feature young women at dizzying heights who, at times, smile into the camera as if they were in love. The publication assembles the finds from this charming genre that Raiss compiled over a period of 25 years.
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"The Japanese photobook", 1912–1990 illustrates the development of photography as seen in photo publications in Japan--from the early influence of European and American pictorialism, the German Bauhaus and imperial military propaganda to the complete collapse and destruction of the country in 1945. Then followed a new beginning: with the unique self-determination of a(...)
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août 2016
The Japanese photobook, 1912-1980
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"The Japanese photobook", 1912–1990 illustrates the development of photography as seen in photo publications in Japan--from the early influence of European and American pictorialism, the German Bauhaus and imperial military propaganda to the complete collapse and destruction of the country in 1945. Then followed a new beginning: with the unique self-determination of a young generation of photographers and visual artists highlighted by the Provoke style--an experimental Japanese photography magazine that had a profound effect on the medium in the 1970s and ‘80s--as well as protest and war documentation of the late 1950s to the early ‘70s, the signature Japanese photobook, as we have come to know it, was born.
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La mémoire du futur
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Cet ouvrage confronte les travaux d'artistes contemporains et des oeuvres créées par les pionniers des premiers procédés photographiques. L'interview de A. Cartier-Bresson permet de retracer l'histoire des techniques photographiques pour mieux comprendre l'intérêt des photographes contemporains pour les pratiques anciennes.
La mémoire du futur
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Cet ouvrage confronte les travaux d'artistes contemporains et des oeuvres créées par les pionniers des premiers procédés photographiques. L'interview de A. Cartier-Bresson permet de retracer l'histoire des techniques photographiques pour mieux comprendre l'intérêt des photographes contemporains pour les pratiques anciennes.
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Paris metro photo
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This volume looks at the close relationship between photography and the heyday of the Paris metro, covering over a century of photographic documents. The major figures of photography all snapped the Paris metro, from the humanists--Doisneau, Henri Cartier-Bresson, Brassaï, Boubat, Izis, Kollar, Ronis and more--to photojournalists such as Robert Capa, William Klein and Van(...)
Paris metro photo
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This volume looks at the close relationship between photography and the heyday of the Paris metro, covering over a century of photographic documents. The major figures of photography all snapped the Paris metro, from the humanists--Doisneau, Henri Cartier-Bresson, Brassaï, Boubat, Izis, Kollar, Ronis and more--to photojournalists such as Robert Capa, William Klein and Van der Keuken, in addition to the scores of photojournalists who passed through the city. In 1900, as the first metro rolled from west to east across Paris, from Porte Maillot to Porte de Vincennes, photography had already been around for half a century. Turn-of-the-century technological advances had created smaller, lighter cameras--the first Kodaks--which introduced the practice to a wider market. As Parisians fell in love with their new mode of transport, photography became a more widespread pastime. All genres and photographic practices are represented in this overview, from photojournalism to photo stories, street photography, fashion photography, architectural photography and industrial photography.
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Jan Dibbets’ dissenting and unashamedly biased Pandora’s Box offers nothing less than a reinterpretation of the entire history of art photography, arguing that scientific photography was the realm where the medium’s real innovations happened. “Scientific photography encouraged a freer, more outgoing use of the medium,” says Dibbets. “The whole problem with photography is(...)
Pandora's box: Jan Dibbets on another photography
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Jan Dibbets’ dissenting and unashamedly biased Pandora’s Box offers nothing less than a reinterpretation of the entire history of art photography, arguing that scientific photography was the realm where the medium’s real innovations happened. “Scientific photography encouraged a freer, more outgoing use of the medium,” says Dibbets. “The whole problem with photography is that it was invented at the wrong time. As Baudelaire so rightly pointed out, the first photographers were doing their best to imitate artists like Ingres and other ‘realists.’ All this imitation ... blocked the process of emancipation.”The result of Dibbets' alternative history is some 300 images, with Nicéphore Niépce, Gustave Le Gray, Étienne-Jules Marey and Edward Muybridge rubbing shoulders with photographers less well known but, in Dibbets’ view, equally crucial.
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Detroit after dark
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This book is the first to explore photographic representations of Detroit during the hours from dusk until dawn, featuring work by artists including Robert Frank, Leni Sinclair, Steve Shaw, Russ Marshall, and Dave Jordano, among others. The city’s streets, architecture, vast industrial complexes, night clubs, and unique subcultures are captured here in otherworldly(...)
Detroit after dark
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This book is the first to explore photographic representations of Detroit during the hours from dusk until dawn, featuring work by artists including Robert Frank, Leni Sinclair, Steve Shaw, Russ Marshall, and Dave Jordano, among others. The city’s streets, architecture, vast industrial complexes, night clubs, and unique subcultures are captured here in otherworldly visions of the nighttime urban landscape from the 1950s to the present day. These images offer a unique interpretation of Detroit, its industry, culture, and turbulent history through the second half of the 20th century and into the 21st. This book also provides context for the work by addressing historically significant artists who have contributed to the genre, including Ilse Bing, Brassaï, André Kertész, Berenice Abbott, and others.
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John Ruskin was an influential English art critic and social thinker of the Victorian era, who famously argued that the principal concern of the artist is “truth to nature.” For Ruskin, this truth entailed more than merely adept technical representation, but rather, should depict the natural world as mankind experiences it, with all the sensations of both beauty and(...)
Landscapes after Ruskin: redefining the sublime
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John Ruskin was an influential English art critic and social thinker of the Victorian era, who famously argued that the principal concern of the artist is “truth to nature.” For Ruskin, this truth entailed more than merely adept technical representation, but rather, should depict the natural world as mankind experiences it, with all the sensations of both beauty and terror it elicits. Today, in a world overwhelmed by industrial development and environmental uncertainty, contemporary artists are discovering new beauties and terrors associated with nature, invoking a sense of the sublime that is uniquely modern. "Landscapes after Ruskin" explores how a joyful experience of nature is now mixed with a particular dread as the earth and its atmosphere are increasingly touched by human activity.
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