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Julien Levy (1906–1981) was one of the most influential proponents of photography and Surrealism during the second quarter of the twentieth century. In his gallery, which operated from 1931 to 1949, Levy hosted the first New York exhibition devoted to Surrealism and presented early solo exhibitions of many photographers now considered iconic in their field, including(...)
juin 2006, Philadelphia /New Haven
Dreaming in black and white : photography at the Julien Levy gallery
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Julien Levy (1906–1981) was one of the most influential proponents of photography and Surrealism during the second quarter of the twentieth century. In his gallery, which operated from 1931 to 1949, Levy hosted the first New York exhibition devoted to Surrealism and presented early solo exhibitions of many photographers now considered iconic in their field, including Henri Cartier-Bresson, Walker Evans, Clarence John Laughlin, George Platt Lynes, and Lee Miller. He also developed close relationships with artists Salvador Dalí, Max Ernst, and Man Ray, among others, and is credited with discovering Joseph Cornell. This book is published to commemorate the centenary of Levy’s birth and to celebrate the Philadelphia Museum of Art’s major acquisition of more than 2,500 photographs from his collection.
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"Light in the Dark Room" explores photography not as a document of the past but rather as a realization of what we have lost. When we look at a photograph we see a moment that is no more. Photographs place reality into the past tense, representing not memory but memory’s loss. They are not conduits for the return of memory, but memento mori: reminders of the fact of(...)
Light in the dark room : photography and loss
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"Light in the Dark Room" explores photography not as a document of the past but rather as a realization of what we have lost. When we look at a photograph we see a moment that is no more. Photographs place reality into the past tense, representing not memory but memory’s loss. They are not conduits for the return of memory, but memento mori: reminders of the fact of death itself. And it is in this, Jay Prosser tells us, that we find the gift of photography. Engaging the photographic reflections of figures as different as Roland Barthes and Claude Lévi-Strauss, Gordon Parks and Elizabeth Bishop, "Light in the Dark Room" offers a vision of photography as realization of loss - and a revelation of how photographs can shed light on the dark rooms of our lives. Beginning with an analysis of Roland Barthes’s "Camera Lucida", Prosser explores the relationship of autobiography and photography and then considers Lévi-Strauss’s last published book, his photographic memoir; he uncovers the collection of photography painstakingly assembled by poet Elizabeth Bishop but never published; and he recounts the story of a forgotten Brazilian boy from the 1960s who lost his home as a result of photographs. The losses this book recalls are poignant yet universal - a son loses his mother; an anthropologist, his culture; a photographer, his youth; a poet, her lover. Among these personal and moving losses and the remarkable photographs that accompany them, Prosser weaves his own meditations on photography, on the interdependence of loss and enlightenment, on the emergence of our technologized society - and the world we have lost in the process.
Théorie de la photographie
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"You press the button, we do the rest." Kodak used this slogan in ads for the first box cameras, introduced by George Eastman in 1888. From then on, virtually anyone could take pictures--the snapshot was born!~Without exception, the amateur photos presented in "Snapshots: the eye of the century" capture what are essentially ordinary moments--yet every trace of banality(...)
Snapshots : the eye of the century
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"You press the button, we do the rest." Kodak used this slogan in ads for the first box cameras, introduced by George Eastman in 1888. From then on, virtually anyone could take pictures--the snapshot was born!~Without exception, the amateur photos presented in "Snapshots: the eye of the century" capture what are essentially ordinary moments--yet every trace of banality disappears once they are removed from the context of personal biography. Sometimes the moment is right, and art just "happens," in the form of double or multiple exposures, slipped horizons, or curious details that enter the picture frame because the camera moved just as the shutter was released. Christian R. Skrein-Bumballa, an artist and a former professional photographer, has tracked down and collected thousands of these treasures, which can be viewed as part of our visual heritage. His impressive selection of photographs is here arranged thematically, and at its heart we find the essentials of the human condition: joy and pain, visualized in the decisive moment in which history stands still for a fraction of a second. Snapshots features the most aesthetically notable and otherwise curious photographs from the S.A.S. Snapshots Archiv Skrein, a collection of nearly one million snapshots from all over the world.
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Écrivain, traducteur, éditeur, fondateur de la collection Fiction & Cie, photographe, co-fondateur des Cahiers de la photographie, Denis Roche a été partie prenante dans tous les domaines qui ont été secoués par les avant-gardes des années 1970. La revue Tel Quel, qu'il publie et en tant que membre du comité de rédaction, son recueil de poésie le Mécrit suivi(...)
Les grands entretiens d'artpress: Denis Roche
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Écrivain, traducteur, éditeur, fondateur de la collection Fiction & Cie, photographe, co-fondateur des Cahiers de la photographie, Denis Roche a été partie prenante dans tous les domaines qui ont été secoués par les avant-gardes des années 1970. La revue Tel Quel, qu'il publie et en tant que membre du comité de rédaction, son recueil de poésie le Mécrit suivi par un roman, Louve basse (1976), relèvent de cette «machinerie congestive» qui caractérise son activité créatrice. S'il figure au sommaire du n° 1 d'artpress, en décembre 1972, c'est parce que la rencontre entre la revue, qui accordait déjà une large place à la littérature, et le traducteur et poète d'alors s'inscrivait dans une commune vision de la littérature et de l'art.
Théorie de l’art
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67 pages : illustrations (chiefly color) ; 18 cm
Berlin : Aedes, [2022], ©2022
neri&hu design and research office : reflective nostalgia / [Preface: Kristin Feireiss and Hans-Jürgen Commerell].
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67 pages : illustrations (chiefly color) ; 18 cm
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Berlin : Aedes, [2022], ©2022
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Le Vingtième siècle est celui où les femmes prennent leur place dans l'histoire de l'art. C'est à Paris que cette histoire commence. Paris, surtout durant la première moitié du siècle, est, en effet pour ces femmes artistes (qu'elles soient nées en France ou viennent du Nord de l'Europe, de Russie ou d'Amérique) un carrefour : un terre d'exil pour les unes, l'occasion(...)
août 2007
Femmes artistes/artistes femmes : Paris, de 1880 à nos jours
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Le Vingtième siècle est celui où les femmes prennent leur place dans l'histoire de l'art. C'est à Paris que cette histoire commence. Paris, surtout durant la première moitié du siècle, est, en effet pour ces femmes artistes (qu'elles soient nées en France ou viennent du Nord de l'Europe, de Russie ou d'Amérique) un carrefour : un terre d'exil pour les unes, l'occasion d'un nouveau départ pour les autres. C'est ainsi à Paris que se cristallise la notion de « femme artiste », dans le champ de la peinture et de la sculpture, qui s'élargit bientôt à la photographie, puis à l'installation, la vidéo, la performance, etc. Siècle de lutte, d'émancipation, d'indépendance, de création, de revendication, le XXème siècle est ainsi, pour les femmes, un siècle d'art. S'il existe des ouvrages sur l'histoire des luttes politiques et sociales des femmes, il n'y a pas encore, en français, de livre qui soit spécifiquement consacré aux femmes artistes en France durant le XXème siècle.
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521 pages : color illustrations ; 31 cm
Berkeley, California : Codex Foundation ; Stanford : Stanford University Libraries, 2013., ©2013
Book art object 2 : second catalogue of the Codex Foundation Biennial International Book Exhibition and Symposium, Berkeley, 2011 / David Jury and Peter Rutledge Koch.
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521 pages : color illustrations ; 31 cm
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Berkeley, California : Codex Foundation ; Stanford : Stanford University Libraries, 2013., ©2013
livres
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216 pages : illustrations (some color), portraits ; 31 cm
New York : Pointed Leaf Press, ©2007.
Ultramodern : Samuel Marx : architect, designer, art collector / Liz O'Brien ; design, Stafford Cliff ; managing editor, Jane K. Creech ; editors, Terra Chalberg and Anne Hellman White ; production, Dominick J. Santise.
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216 pages : illustrations (some color), portraits ; 31 cm
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New York : Pointed Leaf Press, ©2007.
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480 pages : illustrations (some color), maps ; 28 cm
New York : Monacelli Press, 2002.
Casablanca : colonial myths and architectural ventures / Jean-Louis Cohen and Monique Eleb.
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480 pages : illustrations (some color), maps ; 28 cm
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New York : Monacelli Press, 2002.
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Many of the plantation homes were lost during the time of war, and many more were simply allowed to collapse in the aftermath. This collection of photographs represents work present in the Historic American Buildings Survey, an effort to catalogue and document the architecture and building culture of America. In the South, especially, these photographs became invaluable(...)
octobre 2009
Carolina plantations: Lost photographs from the historic American buildings survey
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Many of the plantation homes were lost during the time of war, and many more were simply allowed to collapse in the aftermath. This collection of photographs represents work present in the Historic American Buildings Survey, an effort to catalogue and document the architecture and building culture of America. In the South, especially, these photographs became invaluable records of a way of life that was quickly disappearing. The selections here capture these lost dwellings sometimes as a fragment, sometimes a whole building and showcase the grand tradition and romantic detail of these icons of the South.