3250 Résultats
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For four years Justin Kimball (born 1961) accompanied his brother Doug, an auctioneer, into the houses of the recently deceased or dispersed. While Doug cleared these spaces of items for potential resale, Justin sought within them the evidence of an individual's life. Photographing "the smallest objects (a note, a box of hair pins, a stain on a pillow)," he reimagines(...)
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For four years Justin Kimball (born 1961) accompanied his brother Doug, an auctioneer, into the houses of the recently deceased or dispersed. While Doug cleared these spaces of items for potential resale, Justin sought within them the evidence of an individual's life. Photographing "the smallest objects (a note, a box of hair pins, a stain on a pillow)," he reimagines(...)
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Justin Kimball : pieces of string
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For four years Justin Kimball (born 1961) accompanied his brother Doug, an auctioneer, into the houses of the recently deceased or dispersed. While Doug cleared these spaces of items for potential resale, Justin sought within them the evidence of an individual's life. Photographing "the smallest objects (a note, a box of hair pins, a stain on a pillow)," he reimagines their existence and relationship to their absent owners. "I use the camera's descriptive power and the photographic illusion of truth to create the narrative and inspire feelings about its subject," he writes of these images. "The resulting photographs are my perception of what happened in those spaces: who lived there? What was hidden and what was seen?" Kimball's color photographs explore the minutiae of everyday life and contemplate our brief and humble legacies before they are cleaned up and cast to the wind.
Justin Kimball : pieces of string
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For four years Justin Kimball (born 1961) accompanied his brother Doug, an auctioneer, into the houses of the recently deceased or dispersed. While Doug cleared these spaces of items for potential resale, Justin sought within them the evidence of an individual's life. Photographing "the smallest objects (a note, a box of hair pins, a stain on a pillow)," he reimagines their existence and relationship to their absent owners. "I use the camera's descriptive power and the photographic illusion of truth to create the narrative and inspire feelings about its subject," he writes of these images. "The resulting photographs are my perception of what happened in those spaces: who lived there? What was hidden and what was seen?" Kimball's color photographs explore the minutiae of everyday life and contemplate our brief and humble legacies before they are cleaned up and cast to the wind.
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livres
livres
Publication:
novembre 2012
novembre 2012
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Monographies photo
Monographies photo
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livres
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Description:
291 pages : illustrations (some color) ; 29 cm
Description:
291 pages : illustrations (some color) ; 29 cm
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New York : Whitney Museum of American Art, 2004.
New York : Whitney Museum of American Art, 2004.
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Ed Ruscha and photography / Sylvia Wolf.
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Description:
291 pages : illustrations (some color) ; 29 cm
Ed Ruscha and photography / Sylvia Wolf.
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291 pages : illustrations (some color) ; 29 cm
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livres
livres
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New York : Whitney Museum of American Art, 2004.
New York : Whitney Museum of American Art, 2004.
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256 pages : illustrations, photographs (chiefly color) ; 26 x 32 cm
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256 pages : illustrations, photographs (chiefly color) ; 26 x 32 cm
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New York : Rizzoli International Publications, Inc., 2025., ©2025
New York : Rizzoli International Publications, Inc., 2025., ©2025
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The Palm Springs school : desert modernism 1934-1975 / Alan Hess ; with essays by Christine Madrid French, Eddie Jones, Ken Lyon, George E. Thomas, Sian Winship.
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256 pages : illustrations, photographs (chiefly color) ; 26 x 32 cm
The Palm Springs school : desert modernism 1934-1975 / Alan Hess ; with essays by Christine Madrid French, Eddie Jones, Ken Lyon, George E. Thomas, Sian Winship.
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256 pages : illustrations, photographs (chiefly color) ; 26 x 32 cm
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livres
livres
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New York : Rizzoli International Publications, Inc., 2025., ©2025
New York : Rizzoli International Publications, Inc., 2025., ©2025
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160 pages : color illustrations ; 29 cm
Description:
160 pages : color illustrations ; 29 cm
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London : Phaidon Press Ltd., ©1996.
London : Phaidon Press Ltd., ©1996.
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Jeff Wall / Thierry de Duve, Arielle Pelenc, Boris Groys.
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160 pages : color illustrations ; 29 cm
Jeff Wall / Thierry de Duve, Arielle Pelenc, Boris Groys.
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160 pages : color illustrations ; 29 cm
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livres
livres
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London : Phaidon Press Ltd., ©1996.
London : Phaidon Press Ltd., ©1996.
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$45.95
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A cat wanders, perches, and lounges in various spaces around a humble Tokyo apartment. It is perfectly tranquil in its surroundings, simply going about its daily life. In one image, the cat lays serenely amidst pot plants on the balcony, squinting in morning sunlight; in others, it balances precariously on the edge of the bath, snuggles beneath a sleeping bag, plays in a(...)
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A cat wanders, perches, and lounges in various spaces around a humble Tokyo apartment. It is perfectly tranquil in its surroundings, simply going about its daily life. In one image, the cat lays serenely amidst pot plants on the balcony, squinting in morning sunlight; in others, it balances precariously on the edge of the bath, snuggles beneath a sleeping bag, plays in a(...)
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Takashi Homma: This is not my cat
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A cat wanders, perches, and lounges in various spaces around a humble Tokyo apartment. It is perfectly tranquil in its surroundings, simply going about its daily life. In one image, the cat lays serenely amidst pot plants on the balcony, squinting in morning sunlight; in others, it balances precariously on the edge of the bath, snuggles beneath a sleeping bag, plays in a cardboard box, hides beneath an open umbrella. Here and there, evidence of the cat's fellow inhabitant in the apartment—a man, who also happens to be the internationally renowned photographer Takashi Homma—creeps into the frame. A knee, a foot, a shock of blonde hair, half of a face. There are artefacts of his life and practice too. Framed photographic prints draped in bubblewrap lean against a wall; a tangle of musical effects pedals make for colourful constellation against the cool blue of the carpet.
Takashi Homma: This is not my cat
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A cat wanders, perches, and lounges in various spaces around a humble Tokyo apartment. It is perfectly tranquil in its surroundings, simply going about its daily life. In one image, the cat lays serenely amidst pot plants on the balcony, squinting in morning sunlight; in others, it balances precariously on the edge of the bath, snuggles beneath a sleeping bag, plays in a cardboard box, hides beneath an open umbrella. Here and there, evidence of the cat's fellow inhabitant in the apartment—a man, who also happens to be the internationally renowned photographer Takashi Homma—creeps into the frame. A knee, a foot, a shock of blonde hair, half of a face. There are artefacts of his life and practice too. Framed photographic prints draped in bubblewrap lean against a wall; a tangle of musical effects pedals make for colourful constellation against the cool blue of the carpet.
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livres
livres
Publication:
décembre 2025
décembre 2025
Sujet:
Monographies photo
Monographies photo
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périodiques
périodiques
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$52.00
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Facades play a key role as interfaces between the interior and exterior of build¬ings that are supposed to live with the climate in a dynamic way and not simply function despite of it. Many historic exam¬ples prove that they can perform purposes of both representation and protection, such as vernacular loam buildings in dry and hot climate zones, the double box windows of(...)
$52.00
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Facades play a key role as interfaces between the interior and exterior of build¬ings that are supposed to live with the climate in a dynamic way and not simply function despite of it. Many historic exam¬ples prove that they can perform purposes of both representation and protection, such as vernacular loam buildings in dry and hot climate zones, the double box windows of(...)
Titre:
Detail 5 2026: Climate-adaptive facades
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Facades play a key role as interfaces between the interior and exterior of build¬ings that are supposed to live with the climate in a dynamic way and not simply function despite of it. Many historic exam¬ples prove that they can perform purposes of both representation and protection, such as vernacular loam buildings in dry and hot climate zones, the double box windows of historic European houses, or the diaphragm mechanisms of the Institute de Monde Arabe by Atelier Jean Nouvel. Climate buffers, solar chimneys, and photovoltaics are part of the toolkit of international architectural offices. For the police station in Chur by the Swiss studio Comamala Ismail, PV modules were installed on the facades at two different angles. As a result, they double as sun protection. Foster + Partners adapted traditional wind towers for the design of the Zayed National Museum in Abu Dhabi.
Detail 5 2026: Climate-adaptive facades
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Facades play a key role as interfaces between the interior and exterior of build¬ings that are supposed to live with the climate in a dynamic way and not simply function despite of it. Many historic exam¬ples prove that they can perform purposes of both representation and protection, such as vernacular loam buildings in dry and hot climate zones, the double box windows of historic European houses, or the diaphragm mechanisms of the Institute de Monde Arabe by Atelier Jean Nouvel. Climate buffers, solar chimneys, and photovoltaics are part of the toolkit of international architectural offices. For the police station in Chur by the Swiss studio Comamala Ismail, PV modules were installed on the facades at two different angles. As a result, they double as sun protection. Foster + Partners adapted traditional wind towers for the design of the Zayed National Museum in Abu Dhabi.
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périodiques
périodiques
Publication:
mai 2026
mai 2026
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Revues
Revues
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livres
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$21.48
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This issue of Harvard Design Magazine investigates and unpacks the contents, containers, and systems of storage that organize our world. Storage is the aggregation and containment of the material and immaterial stuff of culture; but also the safeguarding—or hoarding—of energy and tools for some imagined future purpose. How does all this stuff mask or overcompensate for(...)
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This issue of Harvard Design Magazine investigates and unpacks the contents, containers, and systems of storage that organize our world. Storage is the aggregation and containment of the material and immaterial stuff of culture; but also the safeguarding—or hoarding—of energy and tools for some imagined future purpose. How does all this stuff mask or overcompensate for(...)
Titre:
Harvard Design magazine 43: shelf life
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This issue of Harvard Design Magazine investigates and unpacks the contents, containers, and systems of storage that organize our world. Storage is the aggregation and containment of the material and immaterial stuff of culture; but also the safeguarding—or hoarding—of energy and tools for some imagined future purpose. How does all this stuff mask or overcompensate for economic and ecological bankruptcy? Is storage about greed or need? Storage, perhaps, is everything we can live without but insist on living with. "Shelf Life" explores what’s inside the box (shed, tank, urn, vault, crypt, crate, case, pot, bag, vat, morgue, safe, bin, archive, warehouse, cabinet, cellar, cemetery, depository, locker, freezer, landfill, library). Even as we attempt to reduce and recycle, the stuff that we dispose of also needs to be stored. Where do we put it? Our planet is now a saturated receptacle. This warehouse is full, and we’re all inside it.
Harvard Design magazine 43: shelf life
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$21.48
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Résumé:
This issue of Harvard Design Magazine investigates and unpacks the contents, containers, and systems of storage that organize our world. Storage is the aggregation and containment of the material and immaterial stuff of culture; but also the safeguarding—or hoarding—of energy and tools for some imagined future purpose. How does all this stuff mask or overcompensate for economic and ecological bankruptcy? Is storage about greed or need? Storage, perhaps, is everything we can live without but insist on living with. "Shelf Life" explores what’s inside the box (shed, tank, urn, vault, crypt, crate, case, pot, bag, vat, morgue, safe, bin, archive, warehouse, cabinet, cellar, cemetery, depository, locker, freezer, landfill, library). Even as we attempt to reduce and recycle, the stuff that we dispose of also needs to be stored. Where do we put it? Our planet is now a saturated receptacle. This warehouse is full, and we’re all inside it.
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livres
livres
Publication:
janvier 2017
janvier 2017
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Revues
Revues
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$43.00
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Documenting the production of the New York Graphic Workshop (NYGW), a group founded in 1965 by three young Latin American artists in New York - Luis Camnitzer, José Guillermo Castillo and Liliana Porter - this is the first comprehensive overview of this crucial, yet not so well-known, episode in the history of U.S. and Latin American Conceptual art. The mission of the(...)
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Documenting the production of the New York Graphic Workshop (NYGW), a group founded in 1965 by three young Latin American artists in New York - Luis Camnitzer, José Guillermo Castillo and Liliana Porter - this is the first comprehensive overview of this crucial, yet not so well-known, episode in the history of U.S. and Latin American Conceptual art. The mission of the(...)
Titre:
The New York Graphic Workshop, 1964-1970
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Documenting the production of the New York Graphic Workshop (NYGW), a group founded in 1965 by three young Latin American artists in New York - Luis Camnitzer, José Guillermo Castillo and Liliana Porter - this is the first comprehensive overview of this crucial, yet not so well-known, episode in the history of U.S. and Latin American Conceptual art. The mission of the NYGW was to redefine the practice of printmaking in Conceptual terms, focusing on the mechanical and repetitive nature of the medium rather than its traditional techniques. The NYGW functioned as a collective. It held unconventional exhibitions, including several by mail and one in a safe-deposit box on 57th Street, and it participated in The Museum of Modern Art's 1970 exhibition Information. The NYGW also produced prints by some of the leading contemporary artists of the period, including Michael Snow, Max Neuhaus, José Luis Cuevas and Salvador Dali.
The New York Graphic Workshop, 1964-1970
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Documenting the production of the New York Graphic Workshop (NYGW), a group founded in 1965 by three young Latin American artists in New York - Luis Camnitzer, José Guillermo Castillo and Liliana Porter - this is the first comprehensive overview of this crucial, yet not so well-known, episode in the history of U.S. and Latin American Conceptual art. The mission of the NYGW was to redefine the practice of printmaking in Conceptual terms, focusing on the mechanical and repetitive nature of the medium rather than its traditional techniques. The NYGW functioned as a collective. It held unconventional exhibitions, including several by mail and one in a safe-deposit box on 57th Street, and it participated in The Museum of Modern Art's 1970 exhibition Information. The NYGW also produced prints by some of the leading contemporary artists of the period, including Michael Snow, Max Neuhaus, José Luis Cuevas and Salvador Dali.
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livres
livres
Publication:
juillet 2009
juillet 2009
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livres
livres
Titre:
Academy of Tal R
Academy of Tal R
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Joyously chromatic and brimming with reckless vitality, the paintings, drawings and collages of Danish artist Tal R (born 1967) are anything but academic hence the ironic title of this overview, which surveys works from the past 20 years of his vast output as well as a series of new works. Tal R has been a storyteller from the outset of his career in the 1990s, always(...)
$64.95
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Joyously chromatic and brimming with reckless vitality, the paintings, drawings and collages of Danish artist Tal R (born 1967) are anything but academic hence the ironic title of this overview, which surveys works from the past 20 years of his vast output as well as a series of new works. Tal R has been a storyteller from the outset of his career in the 1990s, always(...)
Publication:
septembre 2017
septembre 2017
Titre:
Academy of Tal R
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$64.95
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Joyously chromatic and brimming with reckless vitality, the paintings, drawings and collages of Danish artist Tal R (born 1967) are anything but academic hence the ironic title of this overview, which surveys works from the past 20 years of his vast output as well as a series of new works. Tal R has been a storyteller from the outset of his career in the 1990s, always hovering between figuration and abstraction with a special eye for the overlooked, hidden and repressed spaces of modern life. “I do painting a bit like people make a lunch box,” he once declared. “I constantly have this hot-pot boiling and I throw all kinds of material into it.” While the artist is well known as a prolific publisher of artist’s books (usually gathering specific bodies of work), "Academy of Tal R" is the most substantial overview of his diverse ouevre yet published.
Academy of Tal R
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$64.95
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Joyously chromatic and brimming with reckless vitality, the paintings, drawings and collages of Danish artist Tal R (born 1967) are anything but academic hence the ironic title of this overview, which surveys works from the past 20 years of his vast output as well as a series of new works. Tal R has been a storyteller from the outset of his career in the 1990s, always hovering between figuration and abstraction with a special eye for the overlooked, hidden and repressed spaces of modern life. “I do painting a bit like people make a lunch box,” he once declared. “I constantly have this hot-pot boiling and I throw all kinds of material into it.” While the artist is well known as a prolific publisher of artist’s books (usually gathering specific bodies of work), "Academy of Tal R" is the most substantial overview of his diverse ouevre yet published.
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livres
livres
Publication:
septembre 2017
septembre 2017
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Description:
xiii, 310 pages : illustrations ; 25 cm
Description:
xiii, 310 pages : illustrations ; 25 cm
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New York : Oxford University Press, 2002.
New York : Oxford University Press, 2002.
Titre:
When Church became theatre : the transformation of evangelical architecture and worship in nineteenth-century America / Jeanne Halgren Kilde.
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xiii, 310 pages : illustrations ; 25 cm
When Church became theatre : the transformation of evangelical architecture and worship in nineteenth-century America / Jeanne Halgren Kilde.
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xiii, 310 pages : illustrations ; 25 cm
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livres
livres
Publication:
New York : Oxford University Press, 2002.
New York : Oxford University Press, 2002.
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