2967 Résultats
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In "Suspended Conversations" Martha Langford shows how photographic albums tell intimate and revealing stories about individuals and families. Unlike those who isolate the individual photograph, treat albums as texts, or argue that photography has supplanted memory, she shows 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. Unlike those who isolate the individual photograph, treat albums as texts, or argue that photography has supplanted memory, she shows that the photographic album must be taken as a whole and interpreted as a visual and verbal(...)
Sujet:
Théorie de la photographie
Théorie de la photographie
Publication:
avril 2008, Montréal, Kingston, London, Ithaca
avril 2008, Montréal, Kingston, London, Ithaca
Titre:
Suspended conversations : the afterlife of memory in photographic albums
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In "Suspended Conversations" Martha Langford shows how photographic albums tell intimate and revealing stories about individuals and families. Unlike those who isolate the individual photograph, treat albums as texts, or argue that photography has supplanted memory, she shows that the photographic album must be taken as a whole and interpreted as a visual and verbal performance that extends oral consciousness. Albums are treasured by families, collected as illustrations of the past by museums of social history, and examined by scholars for what they can reveal about attitudes and sensibilities. Most agree that albums are stories that come to life in the retelling - but when no one is left to tell the tale, the intrigue of the album becomes a puzzle, a suspended conversation. Langford argues that oral consciousness provides the missing key. By correlating photography and orality she shows how albums were designed to work as performances and how we can unlock their mysteries. "Suspended Conversations" brings to light a collection of photographic travelogues, memoirs, thematic collections, and family sagas compiled between 1860 and 1960 and held by the McCord Museum of Canadian History. Langford not only provides a fascinating glimpse of the preoccupations of previous centuries but brings photography into the great conversation of how we remember and how we send our stories into the future.
Suspended conversations : the afterlife of memory in photographic albums
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In "Suspended Conversations" Martha Langford shows how photographic albums tell intimate and revealing stories about individuals and families. Unlike those who isolate the individual photograph, treat albums as texts, or argue that photography has supplanted memory, she shows that the photographic album must be taken as a whole and interpreted as a visual and verbal performance that extends oral consciousness. Albums are treasured by families, collected as illustrations of the past by museums of social history, and examined by scholars for what they can reveal about attitudes and sensibilities. Most agree that albums are stories that come to life in the retelling - but when no one is left to tell the tale, the intrigue of the album becomes a puzzle, a suspended conversation. Langford argues that oral consciousness provides the missing key. By correlating photography and orality she shows how albums were designed to work as performances and how we can unlock their mysteries. "Suspended Conversations" brings to light a collection of photographic travelogues, memoirs, thematic collections, and family sagas compiled between 1860 and 1960 and held by the McCord Museum of Canadian History. Langford not only provides a fascinating glimpse of the preoccupations of previous centuries but brings photography into the great conversation of how we remember and how we send our stories into the future.
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livres
livres
Publication:
avril 2008, Montréal, Kingston, London, Ithaca
avril 2008, Montréal, Kingston, London, Ithaca
Sujet:
Théorie de la photographie
Théorie de la photographie
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livres
livres
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Photoshow
Photoshow
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Even before being printed in a book to narrate true life (as much as it may seem brutal or idillyc), or to recall the features of a face, since its early years photography has been “exhibited” to audiences. An history of photography narrated through exhibitions and the theory that has accompanied it has never been carried out yet. It would be very interesting,(...)
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Even before being printed in a book to narrate true life (as much as it may seem brutal or idillyc), or to recall the features of a face, since its early years photography has been “exhibited” to audiences. An history of photography narrated through exhibitions and the theory that has accompanied it has never been carried out yet. It would be very interesting,(...)
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Photoshow
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Even before being printed in a book to narrate true life (as much as it may seem brutal or idillyc), or to recall the features of a face, since its early years photography has been “exhibited” to audiences. An history of photography narrated through exhibitions and the theory that has accompanied it has never been carried out yet. It would be very interesting, furthermore, to trace back the different aesthetic schools and communication theories that have pointed out the evolution of the history of photography and its public moments par excellence: exhibitions. Installations manifest values, ideologies, politics and aesthetics. An history of photography exhibitions would represent a different and original way of studying photography as a means of expression and contemporary communication. Nowadays photography plays its role on the art and collection market with an unexpected strength and vigour. The discovery and success of a new talent on the market depends on the common work of private galleries, public spaces and the international limelight. The activity of American and European Photography Museums, the numerous great art events and festivals – especially dedicated to the world and market of photography, art galleries that discover new talents and new ways of exhibiting them, all this contributes to a system that works perfectly well presenting new ways of expression for photography, actually widely recognized as heritage of humanity.
Photoshow
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Even before being printed in a book to narrate true life (as much as it may seem brutal or idillyc), or to recall the features of a face, since its early years photography has been “exhibited” to audiences. An history of photography narrated through exhibitions and the theory that has accompanied it has never been carried out yet. It would be very interesting, furthermore, to trace back the different aesthetic schools and communication theories that have pointed out the evolution of the history of photography and its public moments par excellence: exhibitions. Installations manifest values, ideologies, politics and aesthetics. An history of photography exhibitions would represent a different and original way of studying photography as a means of expression and contemporary communication. Nowadays photography plays its role on the art and collection market with an unexpected strength and vigour. The discovery and success of a new talent on the market depends on the common work of private galleries, public spaces and the international limelight. The activity of American and European Photography Museums, the numerous great art events and festivals – especially dedicated to the world and market of photography, art galleries that discover new talents and new ways of exhibiting them, all this contributes to a system that works perfectly well presenting new ways of expression for photography, actually widely recognized as heritage of humanity.
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livres
livres
Publication:
novembre 2014
novembre 2014
Sujet:
Théorie de la photographie
Théorie de la photographie
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128 pages : illustrations (some color), portraits ; 24 x 29 cm
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128 pages : illustrations (some color), portraits ; 24 x 29 cm
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Hartford : Wadsworth Atheneum Museum of Art ; Hanover : Distributed by University Press of New England, ©2007.
Hartford : Wadsworth Atheneum Museum of Art ; Hanover : Distributed by University Press of New England, ©2007.
Titre:
Magic façade : the Austin house / edited by Eugene R. Gaddis ; associate editor, Ann Brandwein ; with a reminiscence by Angela Lansbury ; new photographs by Geoffrey Gross.
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128 pages : illustrations (some color), portraits ; 24 x 29 cm
Magic façade : the Austin house / edited by Eugene R. Gaddis ; associate editor, Ann Brandwein ; with a reminiscence by Angela Lansbury ; new photographs by Geoffrey Gross.
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128 pages : illustrations (some color), portraits ; 24 x 29 cm
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livres
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Hartford : Wadsworth Atheneum Museum of Art ; Hanover : Distributed by University Press of New England, ©2007.
Hartford : Wadsworth Atheneum Museum of Art ; Hanover : Distributed by University Press of New England, ©2007.
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$24.95
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Inaugurée en 2017, ''Bleu de bleu'' est une oeuvre monumentale conçue par Alain Paiement et installée sur un parcours de 6,7 kilomètres en bordure de l'autoroute 20, de l'aéroport international Pierre-Elliott-Trudeau de Montréal jusqu'aux abords du centre-ville. Son acquisition dans la collection du Musée d'art contemporain de Montréal - non pas sous sa forme originale(...)
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Inaugurée en 2017, ''Bleu de bleu'' est une oeuvre monumentale conçue par Alain Paiement et installée sur un parcours de 6,7 kilomètres en bordure de l'autoroute 20, de l'aéroport international Pierre-Elliott-Trudeau de Montréal jusqu'aux abords du centre-ville. Son acquisition dans la collection du Musée d'art contemporain de Montréal - non pas sous sa forme originale(...)
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Alain Paiement : bleu de bleu
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Inaugurée en 2017, ''Bleu de bleu'' est une oeuvre monumentale conçue par Alain Paiement et installée sur un parcours de 6,7 kilomètres en bordure de l'autoroute 20, de l'aéroport international Pierre-Elliott-Trudeau de Montréal jusqu'aux abords du centre-ville. Son acquisition dans la collection du Musée d'art contemporain de Montréal - non pas sous sa forme originale comprenant murs et piliers de béton peints, fûts lumineux et plaques réfléchissantes - s'est avérée possible grâce à une migration raisonnée de données sollicitant la photographie et le numérique. Comment un musée peut-il acquérir une telle oeuvre intégrée aux infrastructures publiques ? À mi-chemin entre livre savant et catalogue d'exposition, cet ouvrage rend compte de pratiques artistiques et muséologiques actuelles.
Alain Paiement : bleu de bleu
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Inaugurée en 2017, ''Bleu de bleu'' est une oeuvre monumentale conçue par Alain Paiement et installée sur un parcours de 6,7 kilomètres en bordure de l'autoroute 20, de l'aéroport international Pierre-Elliott-Trudeau de Montréal jusqu'aux abords du centre-ville. Son acquisition dans la collection du Musée d'art contemporain de Montréal - non pas sous sa forme originale comprenant murs et piliers de béton peints, fûts lumineux et plaques réfléchissantes - s'est avérée possible grâce à une migration raisonnée de données sollicitant la photographie et le numérique. Comment un musée peut-il acquérir une telle oeuvre intégrée aux infrastructures publiques ? À mi-chemin entre livre savant et catalogue d'exposition, cet ouvrage rend compte de pratiques artistiques et muséologiques actuelles.
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livres
livres
Publication:
novembre 2019
novembre 2019
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Art canadien
Art canadien
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143, 160 pages : illustrations (some color), portraits ; 27 cm
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143, 160 pages : illustrations (some color), portraits ; 27 cm
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Zürich : Scheidegger & Spiess, [2016], ©2016
Zürich : Scheidegger & Spiess, [2016], ©2016
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Dadaglobe reconstructed / Adrian Sudhalter, Anne and Michel Sanouillet, Cathérine Hug, Samantha Friedman, Lee Ann Daffner and Karl Buchberg.
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143, 160 pages : illustrations (some color), portraits ; 27 cm
Dadaglobe reconstructed / Adrian Sudhalter, Anne and Michel Sanouillet, Cathérine Hug, Samantha Friedman, Lee Ann Daffner and Karl Buchberg.
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143, 160 pages : illustrations (some color), portraits ; 27 cm
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Zürich : Scheidegger & Spiess, [2016], ©2016
Zürich : Scheidegger & Spiess, [2016], ©2016
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$36.00
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Wind, water, fire and molten rock constantly tear apart and resculpt the natural world we live in, and people have always struggled to create structures that will permanently establish their existence on the land. For more than four decades, Frank Gohlke has committed his camera lens to documenting that fraught relationship between people and place, and this retrospective(...)
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Wind, water, fire and molten rock constantly tear apart and resculpt the natural world we live in, and people have always struggled to create structures that will permanently establish their existence on the land. For more than four decades, Frank Gohlke has committed his camera lens to documenting that fraught relationship between people and place, and this retrospective(...)
Sujet:
Monographies photo
Monographies photo
Publication:
décembre 2007, New Mexico, Texas
décembre 2007, New Mexico, Texas
Titre:
Accommodating Nature: the photographs of Frank Gohlke
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Wind, water, fire and molten rock constantly tear apart and resculpt the natural world we live in, and people have always struggled to create structures that will permanently establish their existence on the land. For more than four decades, Frank Gohlke has committed his camera lens to documenting that fraught relationship between people and place, and this retrospective collection of his work by curator John Rohrbach reveals how people carve out their spaces, accommodating nature. Published by the Amon Carter Museum and the Center for American Places.
Accommodating Nature: the photographs of Frank Gohlke
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Wind, water, fire and molten rock constantly tear apart and resculpt the natural world we live in, and people have always struggled to create structures that will permanently establish their existence on the land. For more than four decades, Frank Gohlke has committed his camera lens to documenting that fraught relationship between people and place, and this retrospective collection of his work by curator John Rohrbach reveals how people carve out their spaces, accommodating nature. Published by the Amon Carter Museum and the Center for American Places.
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livres
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décembre 2007, New Mexico, Texas
décembre 2007, New Mexico, Texas
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Monographies photo
Monographies photo
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livres
livres
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The city beneath us : building the New York subways / New York Transit Museum with Vivian Heller.
The city beneath us : building the New York subways / New York Transit Museum with Vivian Heller.
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245, [2] pages : chiefly illustrations ; 26 cm
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245, [2] pages : chiefly illustrations ; 26 cm
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New York : W.W. Norton, ©2004.
New York : W.W. Norton, ©2004.
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The city beneath us : building the New York subways / New York Transit Museum with Vivian Heller.
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245, [2] pages : chiefly illustrations ; 26 cm
The city beneath us : building the New York subways / New York Transit Museum with Vivian Heller.
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245, [2] pages : chiefly illustrations ; 26 cm
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New York : W.W. Norton, ©2004.
New York : W.W. Norton, ©2004.
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xii, 267 pages : illustrations, map ; 24 cm
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xii, 267 pages : illustrations, map ; 24 cm
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New York : New York University Press, ©2009.
New York : New York University Press, ©2009.
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Boulevard of dreams : heady times, heartbreak, and hope along the Grand Concourse in the Bronx / Constance Rosenblum.
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xii, 267 pages : illustrations, map ; 24 cm
Boulevard of dreams : heady times, heartbreak, and hope along the Grand Concourse in the Bronx / Constance Rosenblum.
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xii, 267 pages : illustrations, map ; 24 cm
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New York : New York University Press, ©2009.
New York : New York University Press, ©2009.
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$29.95
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Moving the critical debate about photography away from its current Euro-American centre of gravity, "Photography’s Other Histories" breaks with the notion that photographic history is best seen as the explosion of a Western technology advanced by the work of singular individuals. This collection presents a different account, describing photography as a globally(...)
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Moving the critical debate about photography away from its current Euro-American centre of gravity, "Photography’s Other Histories" breaks with the notion that photographic history is best seen as the explosion of a Western technology advanced by the work of singular individuals. This collection presents a different account, describing photography as a globally(...)
Sujet:
Théorie de la photographie
Théorie de la photographie
Publication:
mars 2003, Durham, N.C.
mars 2003, Durham, N.C.
Titre:
Photography's other histories
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Moving the critical debate about photography away from its current Euro-American centre of gravity, "Photography’s Other Histories" breaks with the notion that photographic history is best seen as the explosion of a Western technology advanced by the work of singular individuals. This collection presents a different account, describing photography as a globally disseminated and locally appropriated medium. Essays firmly grounded in photographic practice — in the actual making of pictures — suggest the extraordinary diversity of nonwestern photography "Photography’s Other Histories" explores from a variety of geographic, cultural, and historic perspectives the role of photography in raising historical consciousness. It includes two first-person pieces by indigenous Australians and one by a Seminole/Muskogee/Diné artist. Some of the essays analyze representations of colonial subjects—from the limited ways Westerners have depicted Navajos to Japanese photos recording the occupation of Manchuria and from the changing nature of the "contract" between Aboriginal subjects and photographers to the surprising range of cultural influences evident in the photographs colonialist F. R. Barton took in New Guinea in the late 1800s and early 1900s. Focusing on photographic self-fashioning and the development of vernacular modernisms, other essays highlight the visionary quality of much popular photography. Case studies centered in early-twentieth-century Peru and contemporary India, Kenya, and Nigeria chronicle the diverse practices that have flourished in postcolonial societies. "Photography’s Other Histories" recasts popular photography around the world, as not simply reproducing culture but creating it.
Photography's other histories
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Moving the critical debate about photography away from its current Euro-American centre of gravity, "Photography’s Other Histories" breaks with the notion that photographic history is best seen as the explosion of a Western technology advanced by the work of singular individuals. This collection presents a different account, describing photography as a globally disseminated and locally appropriated medium. Essays firmly grounded in photographic practice — in the actual making of pictures — suggest the extraordinary diversity of nonwestern photography "Photography’s Other Histories" explores from a variety of geographic, cultural, and historic perspectives the role of photography in raising historical consciousness. It includes two first-person pieces by indigenous Australians and one by a Seminole/Muskogee/Diné artist. Some of the essays analyze representations of colonial subjects—from the limited ways Westerners have depicted Navajos to Japanese photos recording the occupation of Manchuria and from the changing nature of the "contract" between Aboriginal subjects and photographers to the surprising range of cultural influences evident in the photographs colonialist F. R. Barton took in New Guinea in the late 1800s and early 1900s. Focusing on photographic self-fashioning and the development of vernacular modernisms, other essays highlight the visionary quality of much popular photography. Case studies centered in early-twentieth-century Peru and contemporary India, Kenya, and Nigeria chronicle the diverse practices that have flourished in postcolonial societies. "Photography’s Other Histories" recasts popular photography around the world, as not simply reproducing culture but creating it.
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livres
livres
Publication:
mars 2003, Durham, N.C.
mars 2003, Durham, N.C.
Sujet:
Théorie de la photographie
Théorie de la photographie
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livres
livres
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$49.95
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Detroit 1968 was first published in 1972 under the title New American People, and was the subject of Enrico Natali's 1969 solo exhibition at the Art Institute of Chicago. In his introduction to the 1972 edition, Hugh Edwards, former Curator of Photography at the Art Institute of Chicago, wrote: "All the photographs in the present collection were taken in 1967-1970 in(...)
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Detroit 1968 was first published in 1972 under the title New American People, and was the subject of Enrico Natali's 1969 solo exhibition at the Art Institute of Chicago. In his introduction to the 1972 edition, Hugh Edwards, former Curator of Photography at the Art Institute of Chicago, wrote: "All the photographs in the present collection were taken in 1967-1970 in(...)
Titre:
Detroit 1968 : photographs by Enrico Natali
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Detroit 1968 was first published in 1972 under the title New American People, and was the subject of Enrico Natali's 1969 solo exhibition at the Art Institute of Chicago. In his introduction to the 1972 edition, Hugh Edwards, former Curator of Photography at the Art Institute of Chicago, wrote: "All the photographs in the present collection were taken in 1967-1970 in Detroit, which in no way restricts their presentation as a brief of how Americans look and live today. These scenes and incidents might have occurred anywhere in the United States in this time when regional characteristics are disappearing ... this is a view of a situation and condition, not a localization." Forty years later, we can now also appreciate the specificity of Natali's subject, as this body of work presents an insightful exploration of Detroit when it was on the cusp of losing half of its inhabitants, along with its status as America's industrial capital.
Detroit 1968 : photographs by Enrico Natali
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Detroit 1968 was first published in 1972 under the title New American People, and was the subject of Enrico Natali's 1969 solo exhibition at the Art Institute of Chicago. In his introduction to the 1972 edition, Hugh Edwards, former Curator of Photography at the Art Institute of Chicago, wrote: "All the photographs in the present collection were taken in 1967-1970 in Detroit, which in no way restricts their presentation as a brief of how Americans look and live today. These scenes and incidents might have occurred anywhere in the United States in this time when regional characteristics are disappearing ... this is a view of a situation and condition, not a localization." Forty years later, we can now also appreciate the specificity of Natali's subject, as this body of work presents an insightful exploration of Detroit when it was on the cusp of losing half of its inhabitants, along with its status as America's industrial capital.
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livres
livres
Publication:
octobre 2013
octobre 2013
Sujet:
Monographies photo
Monographies photo
