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''Public, Private, Secret: On Photography & the Configuration of Self'' explores the roles that photography and video play in the crafting of identity, and the reconfiguration of social conventions that define our public and private selves. Consciously framed by our present era, this collection of essays, interviews, and reflections assesses how our image-making and(...)
Public, private, secret: on photography and the configuration of self
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$39.95
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''Public, Private, Secret: On Photography & the Configuration of Self'' explores the roles that photography and video play in the crafting of identity, and the reconfiguration of social conventions that define our public and private selves. Consciously framed by our present era, this collection of essays, interviews, and reflections assesses how our image-making and consumption patterns are embedded and implicated in a wider matrix of online behavior and social codes, which in turn give images a life of their own. The writings address the various disruptions, resistances, and subversions that artists propose to the limited versions of race, gender, sexuality, and autonomy that populate mainstream popular culture.
Théorie de la photographie
$44.00
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What is the status and potential of the photo-book? Not only does the photo-book facilitate other means of display and distribution than gallery exhibitions, the book format also allows for challenges of photographys instantaneousness, illusions of movement, and investigations of the photographic language. The photo-book has furthermore been seminal in the distribution of(...)
Imprint - Visual narratives in books and beyond
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What is the status and potential of the photo-book? Not only does the photo-book facilitate other means of display and distribution than gallery exhibitions, the book format also allows for challenges of photographys instantaneousness, illusions of movement, and investigations of the photographic language. The photo-book has furthermore been seminal in the distribution of avant-garde conceptual photography, as well as social documentary and political statements. Is the photo-book today mainly a mainstream medium, a collectors item, or a platform for artistic experiments? This collection of essays addresses current phenomenological, technological, and practical possibilities for communicating through photo-books and other visual narratives.
Théorie de la photographie
artéfacts
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1 set of building blocks : wood and lithographed paper ; various sizes in wooden box 28 x 39 x 24 cm + 2 instruction sheets ([4] pages : illustrations ; 27 x 18 cm)
[approximately 1884] (Philadelphia : Frost & [F]ullerton)
The sovereign people['s] building block[s].
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1 set of building blocks : wood and lithographed paper ; various sizes in wooden box 28 x 39 x 24 cm + 2 instruction sheets ([4] pages : illustrations ; 27 x 18 cm)
artéfacts
[approximately 1884] (Philadelphia : Frost & [F]ullerton)
$54.95
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Long out of print, this seminal collection of essays and photographs are by artist, theorist and filmmaker, Allan Sekula. Originally published by the Nova Scotia College of Art and Design in 1984, in these essays and images Sekula sought to portray the inextricable bond between labour and material culture, drawing deeply on Marxist theory to argue passionately for a(...)
Photography against the grain: essays and photo works 1973-1983
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Long out of print, this seminal collection of essays and photographs are by artist, theorist and filmmaker, Allan Sekula. Originally published by the Nova Scotia College of Art and Design in 1984, in these essays and images Sekula sought to portray the inextricable bond between labour and material culture, drawing deeply on Marxist theory to argue passionately for a collective model of progress. Sekula taught at California Institute of Arts (CalArts) from 1985 until his death in 2013, and from that insider's position he critiqued photography and the circumstances of its production and consumption, exposing what the medium failed to represent – women, labourers, minorities and the institutional structures that reinforce cultural biases.
Théorie de la photographie
$59.95
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With the advent of digital technologies and the Internet, photography can, at last, fulfill its promise and forgotten potential as both a versatile medium and an adaptable creative practice. This multidisciplinary volume provides new insights into the shifting cultures affecting the production, collection, use, and circulation of photographic images on the Web.(...)
Théorie de la photographie
mai 2014
The versatile image: photography, digital technologies and the internet
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With the advent of digital technologies and the Internet, photography can, at last, fulfill its promise and forgotten potential as both a versatile medium and an adaptable creative practice. This multidisciplinary volume provides new insights into the shifting cultures affecting the production, collection, use, and circulation of photographic images on the Web. International contributors from across the arts and humanities consider fundamental concepts that are associated with the practical applications of convergent technologies and media, focusing on the role of digital and mobile cultures and image-making in the everyday life of citizens and their experience of today’s hypervisual digital universe, while exploring how contemporary artists creatively interact with such new photographic contexts.
Théorie de la photographie
livres
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193 pages ; 28 cm
New York : Primary Research Group, ©2010.
Survey of library & museum digitization projects, 2011 edition.
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193 pages ; 28 cm
livres
New York : Primary Research Group, ©2010.
$45.00
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''Adjusting the lens'' explores the role of photography in contemporary renegotiations of the past and in Indigenous art activism. In moving and powerful case studies, contributors analyze photographic practices and heritage related to Indigenous communities in Canada, Australia, Greenland, Norway, Sweden, Finland, and the United States. In the process, they call(...)
Théorie de la photographie
novembre 2021
Adjusting the lens: indigenous activism, colonial legacies, and photographic heritage
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''Adjusting the lens'' explores the role of photography in contemporary renegotiations of the past and in Indigenous art activism. In moving and powerful case studies, contributors analyze photographic practices and heritage related to Indigenous communities in Canada, Australia, Greenland, Norway, Sweden, Finland, and the United States. In the process, they call attention to how Indigenous people are using old photographs in new ways to empower themselves, revitalize community identity, and decolonize the colonial record. ''Adjusting the lens'' presents original research in this emerging field in Indigenous photography studies, juxtaposing the historical and the contemporary across a range of geographically and culturally distinctive contexts. The transnational perspective of this exciting collection challenges old ways of thinking and meaningfully advances the crucially important project of reclamation.
Théorie de la photographie
Partners
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Ydessa Hendeles is renowned not only as one of the foremost supporters of contemporary art but also as a curator and collector. The collection she has assembled under the auspices of the Ydessa Hendeles Art Foundation is one of the most original, prescient, and highly regarded contemporary art collections in the world - if one of the lesser known. Large parts of it are(...)
Partners
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Ydessa Hendeles is renowned not only as one of the foremost supporters of contemporary art but also as a curator and collector. The collection she has assembled under the auspices of the Ydessa Hendeles Art Foundation is one of the most original, prescient, and highly regarded contemporary art collections in the world - if one of the lesser known. Large parts of it are being shown for the first time in Haus der Kunst in Munich, assembled and arranged by Hendeles; this book has been conceptualized by her in conjunction with the exhibition. In typical Hendeles fashion, "Partners" combines artworks, press photos, anonymous snapshots, and everyday articles. Maurizio Cattelan's HIM, a depiction of Hitler on his knees, plays a key role, as does a large installation of thousands of historical snapshots of teddy bears.
Théorie de la photographie
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This collection of essays places travel at the center of Sebald's poetics and shows how his appropriation of travel in its myriad historical and cultural forms -- tourism, the pilgrimage, the walking vacation, travel as escape -- works to craft intertextual narratives in which the pursuit of individual life stories is mapped onto a wider European cultural history of loss(...)
The undiscover'd country: W.G. Sebald and the poetics of travel
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This collection of essays places travel at the center of Sebald's poetics and shows how his appropriation of travel in its myriad historical and cultural forms -- tourism, the pilgrimage, the walking vacation, travel as escape -- works to craft intertextual narratives in which the pursuit of individual life stories is mapped onto a wider European cultural history of loss and destruction. Following these cues, the contributors wander the various modalities of travel in Sebald's writing in order to discover how walking, flying, sojourning, and other kinds of peregrination inform the relationship between writing, reading, memory, and place in Sebald's work. At the same time, the essays uncover in innovative ways the affinities between Sebald and literary travelers like Bruce Chatwin, Franz Kafka, Adalbert Stifter, Christoph Ransmayr, and Joseph Conrad.
Théorie de la photographie
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Photography was invented between the publication of Adam Smith’s ''The Wealth of Nations'' and Karl Marx and Friedrich Engels’s ''The Communist Manifesto.'' Taking the intertwined development of capitalism and the camera as their starting point, the essays collected here investigate the relationship between capitalist accumulation and the photographic image, and ask(...)
Capitalism and the camera: essays on photography and extraction
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Photography was invented between the publication of Adam Smith’s ''The Wealth of Nations'' and Karl Marx and Friedrich Engels’s ''The Communist Manifesto.'' Taking the intertwined development of capitalism and the camera as their starting point, the essays collected here investigate the relationship between capitalist accumulation and the photographic image, and ask whether photography might allow us to refuse capitalism’s violence—and if so, how? Drawn together in productive disagreement, the essays in this collection explore the relationship of photography to resource extraction and capital accumulation, from 1492 to the postcolonial; the camera’s potential to make visible critical understandings of capitalist production and society, especially economies of class and desire; and the ways the camera and the image can be used to build cultural and political counterpublics from which a democratic struggle against capitalism might emerge.
Théorie de la photographie