3425 Résultats
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Painting seems to have lost its dominant position in the field of the arts. However, looking more closely at exhibited photographs, assemblages, installations, or performances, it is evident how the rhetorics of painting still remain omnipresent. Following the tradition of classical theories of painting based on exchanges with artists, Isabelle Graw’s "The Love of(...)
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Painting seems to have lost its dominant position in the field of the arts. However, looking more closely at exhibited photographs, assemblages, installations, or performances, it is evident how the rhetorics of painting still remain omnipresent. Following the tradition of classical theories of painting based on exchanges with artists, Isabelle Graw’s "The Love of(...)
Titre:
The love of painting: genealogy of a success medium
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Painting seems to have lost its dominant position in the field of the arts. However, looking more closely at exhibited photographs, assemblages, installations, or performances, it is evident how the rhetorics of painting still remain omnipresent. Following the tradition of classical theories of painting based on exchanges with artists, Isabelle Graw’s "The Love of Painting" considers the art form not as something fixed, but as a visual and discursive material formation with the potential to fascinate owing to its ability to produce the fantasy of liveliness. Thus, painting is not restricted to the limits of its own frame, but possesses a specific potential that is located in its material and physical signs. Its value is grounded in its capacity to both reveal and mystify its conditions of production. Alongside in-depth analyses of the work of artists like Édouard Manet, Jutta Koether, Martin Kippenberger, Jana Euler, and Marcel Broodthaers, the book includes conversations with artists in which Graw’s insights are further discussed and put to the test.
The love of painting: genealogy of a success medium
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Painting seems to have lost its dominant position in the field of the arts. However, looking more closely at exhibited photographs, assemblages, installations, or performances, it is evident how the rhetorics of painting still remain omnipresent. Following the tradition of classical theories of painting based on exchanges with artists, Isabelle Graw’s "The Love of Painting" considers the art form not as something fixed, but as a visual and discursive material formation with the potential to fascinate owing to its ability to produce the fantasy of liveliness. Thus, painting is not restricted to the limits of its own frame, but possesses a specific potential that is located in its material and physical signs. Its value is grounded in its capacity to both reveal and mystify its conditions of production. Alongside in-depth analyses of the work of artists like Édouard Manet, Jutta Koether, Martin Kippenberger, Jana Euler, and Marcel Broodthaers, the book includes conversations with artists in which Graw’s insights are further discussed and put to the test.
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livres
livres
Publication:
mars 2018
mars 2018
Sujet:
Théorie de l’art
Théorie de l’art
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livres
livres
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$160.00
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Based on the exhibition "The Idea of Building" held at Matthew Marks Gallery, New York in October 2020 and now published in an edition of only 500 copies by Pre-Echo Press, this book features some of the Luigi Ghirri’s most iconic photographs alongside previously unseen works selected by the artist Matt Connors from the Archivio Luigi Ghirri in Reggio Emilia. "To me, as a(...)
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Based on the exhibition "The Idea of Building" held at Matthew Marks Gallery, New York in October 2020 and now published in an edition of only 500 copies by Pre-Echo Press, this book features some of the Luigi Ghirri’s most iconic photographs alongside previously unseen works selected by the artist Matt Connors from the Archivio Luigi Ghirri in Reggio Emilia. "To me, as a(...)
Titre:
Luigi Ghirri: the idea of building
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Based on the exhibition "The Idea of Building" held at Matthew Marks Gallery, New York in October 2020 and now published in an edition of only 500 copies by Pre-Echo Press, this book features some of the Luigi Ghirri’s most iconic photographs alongside previously unseen works selected by the artist Matt Connors from the Archivio Luigi Ghirri in Reggio Emilia. "To me, as a painter, the photographs of Luigi Ghirri are built rather than composed, things rather than images. The Italian phrase for taking a photo, fare una foto, literally means 'to make a photo,' and this feels like some kind of key. Trained as a land surveyor and a draftsman, Ghirri perceived the world — and all of reality — as a terrain, an assembly of signs, symbols, and images, including other photographs. Taking all of this as his raw material, he re-assembled and re-deployed it, reading the physical world but also writing it."
Luigi Ghirri: the idea of building
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Based on the exhibition "The Idea of Building" held at Matthew Marks Gallery, New York in October 2020 and now published in an edition of only 500 copies by Pre-Echo Press, this book features some of the Luigi Ghirri’s most iconic photographs alongside previously unseen works selected by the artist Matt Connors from the Archivio Luigi Ghirri in Reggio Emilia. "To me, as a painter, the photographs of Luigi Ghirri are built rather than composed, things rather than images. The Italian phrase for taking a photo, fare una foto, literally means 'to make a photo,' and this feels like some kind of key. Trained as a land surveyor and a draftsman, Ghirri perceived the world — and all of reality — as a terrain, an assembly of signs, symbols, and images, including other photographs. Taking all of this as his raw material, he re-assembled and re-deployed it, reading the physical world but also writing it."
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livres
livres
Publication:
mai 2021
mai 2021
Sujet:
Monographies photo
Monographies photo
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livres
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$84.00
(disponible en magasin)
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Beatrice Minda examines private interiors in the context of historical events in her work. In Myanmar, which was isolated for decades by a rigid military dictatorship, she photographed houses and living spaces in both cities and remote regions. She captured the traces of the inhabitants’ lives and the signs of change. In 'Dark Whispers' the ambivalent aspects of the(...)
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Beatrice Minda examines private interiors in the context of historical events in her work. In Myanmar, which was isolated for decades by a rigid military dictatorship, she photographed houses and living spaces in both cities and remote regions. She captured the traces of the inhabitants’ lives and the signs of change. In 'Dark Whispers' the ambivalent aspects of the(...)
Titre:
Beatrice Minda: Dark whispers
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Beatrice Minda examines private interiors in the context of historical events in her work. In Myanmar, which was isolated for decades by a rigid military dictatorship, she photographed houses and living spaces in both cities and remote regions. She captured the traces of the inhabitants’ lives and the signs of change. In 'Dark Whispers' the ambivalent aspects of the British colonial period and its consequences are reflected and illuminated by short texts on the history of the houses as well as historical photographs. Minda’s photographs focus on the atmospheres of past lives and the forms of representation with which the inhabitants once sought to fulfill themselves. Often they are objects that have remained untouched for decades and bear witness to the cosmos of a vanished world. But there are also large gaps between then and now. An uncanny emptiness animates these spaces. Dark whispers echo through them — a memento mori to the many unspoken words of Burmese history.
Beatrice Minda: Dark whispers
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Beatrice Minda examines private interiors in the context of historical events in her work. In Myanmar, which was isolated for decades by a rigid military dictatorship, she photographed houses and living spaces in both cities and remote regions. She captured the traces of the inhabitants’ lives and the signs of change. In 'Dark Whispers' the ambivalent aspects of the British colonial period and its consequences are reflected and illuminated by short texts on the history of the houses as well as historical photographs. Minda’s photographs focus on the atmospheres of past lives and the forms of representation with which the inhabitants once sought to fulfill themselves. Often they are objects that have remained untouched for decades and bear witness to the cosmos of a vanished world. But there are also large gaps between then and now. An uncanny emptiness animates these spaces. Dark whispers echo through them — a memento mori to the many unspoken words of Burmese history.
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livres
livres
Publication:
avril 2021
avril 2021
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Monographies photo
Monographies photo
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livres
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$16.95
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John Gutmann (1905–1998) was one of America’s most distinctive photographers. Born in Germany where he trained as an artist and art teacher, he fled the Nazis in 1933 and settled in San Francisco, reinventing himself as a photo-reporter. Gutmann captured images of American culture, celebrating signs of a vibrant democracy, however imperfect. His own status as an(...)
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John Gutmann (1905–1998) was one of America’s most distinctive photographers. Born in Germany where he trained as an artist and art teacher, he fled the Nazis in 1933 and settled in San Francisco, reinventing himself as a photo-reporter. Gutmann captured images of American culture, celebrating signs of a vibrant democracy, however imperfect. His own status as an(...)
Publication:
janvier 2009
janvier 2009
Titre:
John Gutmann: the photographer at work
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John Gutmann (1905–1998) was one of America’s most distinctive photographers. Born in Germany where he trained as an artist and art teacher, he fled the Nazis in 1933 and settled in San Francisco, reinventing himself as a photo-reporter. Gutmann captured images of American culture, celebrating signs of a vibrant democracy, however imperfect. His own status as an outsider—a Jew in Germany, a naturalized citizen in the United States—informed his focus on individuals from the Asian-American, African-American, and gay communities, as well as his photography in India, Burma, and China during World War II. This book acknowledges Gutmann’s place in the history of photography. Drawing on his archive of photographs and papers at the Center for Creative Photography, it presents both unfamiliar works and little-known contexts for his imagery, linking his photography to his passionate interest in painting and filmmaking, his collections of non-Western art and artifacts, and his pedagogy.
John Gutmann: the photographer at work
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John Gutmann (1905–1998) was one of America’s most distinctive photographers. Born in Germany where he trained as an artist and art teacher, he fled the Nazis in 1933 and settled in San Francisco, reinventing himself as a photo-reporter. Gutmann captured images of American culture, celebrating signs of a vibrant democracy, however imperfect. His own status as an outsider—a Jew in Germany, a naturalized citizen in the United States—informed his focus on individuals from the Asian-American, African-American, and gay communities, as well as his photography in India, Burma, and China during World War II. This book acknowledges Gutmann’s place in the history of photography. Drawing on his archive of photographs and papers at the Center for Creative Photography, it presents both unfamiliar works and little-known contexts for his imagery, linking his photography to his passionate interest in painting and filmmaking, his collections of non-Western art and artifacts, and his pedagogy.
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livres
livres
Publication:
janvier 2009
janvier 2009
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$18.50
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One overcast weekend in October 1974, Georges Perec set out in quest of the "infraordinary": the humdrum, the non-event, the everyday--"what happens," as he put it, "when nothing happens." His choice of locale was Place Saint-Sulpice, where, ensconced behind first one café window, then another, he spent three days recording everything to pass through his field of vision:(...)
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One overcast weekend in October 1974, Georges Perec set out in quest of the "infraordinary": the humdrum, the non-event, the everyday--"what happens," as he put it, "when nothing happens." His choice of locale was Place Saint-Sulpice, where, ensconced behind first one café window, then another, he spent three days recording everything to pass through his field of vision:(...)
Titre:
An attempt at exhausting a place in Paris
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One overcast weekend in October 1974, Georges Perec set out in quest of the "infraordinary": the humdrum, the non-event, the everyday--"what happens," as he put it, "when nothing happens." His choice of locale was Place Saint-Sulpice, where, ensconced behind first one café window, then another, he spent three days recording everything to pass through his field of vision: the people walking by; the buses and driving-school cars caught in their routes; the pigeons moving suddenly en masse; a wedding (and then a funeral) at the church in the center of the square; the signs, symbols and slogans littering everything; and the darkness that finally absorbs it all. In An Attempt at Exhausting a Place in Paris, Perec compiled a melancholic, slightly eerie and oddly touching document in which existence boils down to rhythm, writing turns into time and the line between the empirical and the surreal grows surprisingly thin.
An attempt at exhausting a place in Paris
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One overcast weekend in October 1974, Georges Perec set out in quest of the "infraordinary": the humdrum, the non-event, the everyday--"what happens," as he put it, "when nothing happens." His choice of locale was Place Saint-Sulpice, where, ensconced behind first one café window, then another, he spent three days recording everything to pass through his field of vision: the people walking by; the buses and driving-school cars caught in their routes; the pigeons moving suddenly en masse; a wedding (and then a funeral) at the church in the center of the square; the signs, symbols and slogans littering everything; and the darkness that finally absorbs it all. In An Attempt at Exhausting a Place in Paris, Perec compiled a melancholic, slightly eerie and oddly touching document in which existence boils down to rhythm, writing turns into time and the line between the empirical and the surreal grows surprisingly thin.
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livres
livres
Publication:
septembre 2010
septembre 2010
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livres
livres
Titre:
Lynn Saville: Dark City
Lynn Saville: Dark City
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Arthur Danto has described Lynn Saville as New York's answer to Eugène Atget, because she "prowls her city at the other end of the day, picking up pieces of the past in the present, just before it is swallowed by shadows." For her new monograph, Dark City, Saville focused on vacant spaces--shuttered storefronts, back alleys, blank billboards, empty lots--with the(...)
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Arthur Danto has described Lynn Saville as New York's answer to Eugène Atget, because she "prowls her city at the other end of the day, picking up pieces of the past in the present, just before it is swallowed by shadows." For her new monograph, Dark City, Saville focused on vacant spaces--shuttered storefronts, back alleys, blank billboards, empty lots--with the(...)
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Lynn Saville: Dark City
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Arthur Danto has described Lynn Saville as New York's answer to Eugène Atget, because she "prowls her city at the other end of the day, picking up pieces of the past in the present, just before it is swallowed by shadows." For her new monograph, Dark City, Saville focused on vacant spaces--shuttered storefronts, back alleys, blank billboards, empty lots--with the occasional ghostly figure hurrying through the frame. Working at twilight and dawn with a medium-format camera (setting up her tripod quickly so as not to attract police attention), Saville captured busy city streets depopulated and emptied out, industrial spaces and storefronts alike gone quiet. Color and light come from the sky, streetlights, neon signs or surveillance lighting. Seemingly otherworldly, the images in Dark City also tell a more pragmatic story of the changing urban landscape--vacancies caused by financial crisis, and construction projects spurred on by economic recovery, gentrification and development.
Lynn Saville: Dark City
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Arthur Danto has described Lynn Saville as New York's answer to Eugène Atget, because she "prowls her city at the other end of the day, picking up pieces of the past in the present, just before it is swallowed by shadows." For her new monograph, Dark City, Saville focused on vacant spaces--shuttered storefronts, back alleys, blank billboards, empty lots--with the occasional ghostly figure hurrying through the frame. Working at twilight and dawn with a medium-format camera (setting up her tripod quickly so as not to attract police attention), Saville captured busy city streets depopulated and emptied out, industrial spaces and storefronts alike gone quiet. Color and light come from the sky, streetlights, neon signs or surveillance lighting. Seemingly otherworldly, the images in Dark City also tell a more pragmatic story of the changing urban landscape--vacancies caused by financial crisis, and construction projects spurred on by economic recovery, gentrification and development.
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livres
livres
Publication:
juin 2015
juin 2015
Sujet:
Monographies photo
Monographies photo
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audio
audio
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1 online resource.
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[Place of publication not identified] : Lateral Addition, 2018.
[Place of publication not identified] : Lateral Addition, 2018.
Titre:
June 21, 2018 : Listening for Southwest Key in San Diego.
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1 online resource.
June 21, 2018 : Listening for Southwest Key in San Diego.
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1 online resource.
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audio
audio
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[Place of publication not identified] : Lateral Addition, 2018.
[Place of publication not identified] : Lateral Addition, 2018.
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livres
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1 online resource.
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London : Goldsmiths Press, [2022], ©2022
London : Goldsmiths Press, [2022], ©2022
Titre:
Manifestos / Édouard Glissant, Patrick Chamoiseau ; translated by Betsy Wing and Matt Reeck.
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1 online resource.
Manifestos / Édouard Glissant, Patrick Chamoiseau ; translated by Betsy Wing and Matt Reeck.
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1 online resource.
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livres
livres
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London : Goldsmiths Press, [2022], ©2022
London : Goldsmiths Press, [2022], ©2022
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[6], 66 pages, 42 unnumbered leaves of plates (2 folded) : illustrations (engravings) ; 32 cm (fol.)
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[6], 66 pages, 42 unnumbered leaves of plates (2 folded) : illustrations (engravings) ; 32 cm (fol.)
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London : Printed by Joseph Moxon, and sold at his shop in Russel Street, at the signe of the Atlas, 1670.
London : Printed by Joseph Moxon, and sold at his shop in Russel Street, at the signe of the Atlas, 1670.
Titre:
Practical perspective ; or Perspective made easie. : Teaching by the opticks, how to delineate all bodies, buildings, or landskips, &c. By the catoptricks, how to delineate confused appearences, so as when seen in a mirror or pollisht body of any intended shape, the reflection shall shew a designe. By the dioptircks [sic], how to draw parts of many figures into one, when seen through a glass or christal cut into many faces. Useful for all painters, engravers architects, &c. and all others that are any waies inclined to speculatory ingenuity. / by Joseph Moxon hydrographer to the Kings most excellent Majesty.
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[6], 66 pages, 42 unnumbered leaves of plates (2 folded) : illustrations (engravings) ; 32 cm (fol.)
Practical perspective ; or Perspective made easie. : Teaching by the opticks, how to delineate all bodies, buildings, or landskips, &c. By the catoptricks, how to delineate confused appearences, so as when seen in a mirror or pollisht body of any intended shape, the reflection shall shew a designe. By the dioptircks [sic], how to draw parts of many figures into one, when seen through a glass or christal cut into many faces. Useful for all painters, engravers architects, &c. and all others that are any waies inclined to speculatory ingenuity. / by Joseph Moxon hydrographer to the Kings most excellent Majesty.
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[6], 66 pages, 42 unnumbered leaves of plates (2 folded) : illustrations (engravings) ; 32 cm (fol.)
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London : Printed by Joseph Moxon, and sold at his shop in Russel Street, at the signe of the Atlas, 1670.
London : Printed by Joseph Moxon, and sold at his shop in Russel Street, at the signe of the Atlas, 1670.
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352 pages : illustrations (some color) ; 21 cm
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352 pages : illustrations (some color) ; 21 cm
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Ostfildern : Hatje Cantz, [2014], ©2014
Ostfildern : Hatje Cantz, [2014], ©2014
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Monolith controversies : Pavilion of Chile at the 14th International Architecture Exhibition, La Biennale di Venezia / edited by Pedro Alonso and Hugo Palmarola.
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352 pages : illustrations (some color) ; 21 cm
Monolith controversies : Pavilion of Chile at the 14th International Architecture Exhibition, La Biennale di Venezia / edited by Pedro Alonso and Hugo Palmarola.
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352 pages : illustrations (some color) ; 21 cm
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livres
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Ostfildern : Hatje Cantz, [2014], ©2014
Ostfildern : Hatje Cantz, [2014], ©2014
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