4471 Résultats
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This is the first installation of Forensic Architecture Reports, a series of books each dedicated to a single FA investigation, with insights into the agency’s research methodologies, additional texts from and interviews with collaborators, and dossiers of documents that shaped the investigation in question. On the evening of 4 August 2011, Mark Duggan was shot and(...)
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This is the first installation of Forensic Architecture Reports, a series of books each dedicated to a single FA investigation, with insights into the agency’s research methodologies, additional texts from and interviews with collaborators, and dossiers of documents that shaped the investigation in question. On the evening of 4 August 2011, Mark Duggan was shot and(...)
Titre:
Forensic Architecture, reports #1: The police shooting of Mark Duggan
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This is the first installation of Forensic Architecture Reports, a series of books each dedicated to a single FA investigation, with insights into the agency’s research methodologies, additional texts from and interviews with collaborators, and dossiers of documents that shaped the investigation in question. On the evening of 4 August 2011, Mark Duggan was shot and killed by the police in the north London neighbourhood of Tottenham after the minicab in which he was traveling was pulled over by a team of undercover officers. The team had begun following Duggan shortly after receiving intelligence that he was in possession of a gun, and the officer who shot him testified that he had seen, for a ‘split second’, Duggan aiming the gun at him after he had exited the minicab. However, the gun was not found next to Duggan’s body on the pavement. According to the police, they discovered it in a patch of grass some seven meters away. After a coroner’s inquest ruled Duggan’s killing ‘lawful’ and the police watchdog organisation issued a report siding with the officers’ version of events, the Duggan family’s legal team commissioned Forensic Architecture to conduct an investigation into the critical question at the heart of the case: How did the gun end up in the grass? ?With no video footage of the shooting itself, Forensic Architecture had to rely primarily on the written and oral testimony of the officers involved to develop a spatial investigation designed to test the plausibility of the police’s narrative and to examine whether the officers themselves could have planted the gun...
Forensic Architecture, reports #1: The police shooting of Mark Duggan
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$26.00
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Résumé:
This is the first installation of Forensic Architecture Reports, a series of books each dedicated to a single FA investigation, with insights into the agency’s research methodologies, additional texts from and interviews with collaborators, and dossiers of documents that shaped the investigation in question. On the evening of 4 August 2011, Mark Duggan was shot and killed by the police in the north London neighbourhood of Tottenham after the minicab in which he was traveling was pulled over by a team of undercover officers. The team had begun following Duggan shortly after receiving intelligence that he was in possession of a gun, and the officer who shot him testified that he had seen, for a ‘split second’, Duggan aiming the gun at him after he had exited the minicab. However, the gun was not found next to Duggan’s body on the pavement. According to the police, they discovered it in a patch of grass some seven meters away. After a coroner’s inquest ruled Duggan’s killing ‘lawful’ and the police watchdog organisation issued a report siding with the officers’ version of events, the Duggan family’s legal team commissioned Forensic Architecture to conduct an investigation into the critical question at the heart of the case: How did the gun end up in the grass? ?With no video footage of the shooting itself, Forensic Architecture had to rely primarily on the written and oral testimony of the officers involved to develop a spatial investigation designed to test the plausibility of the police’s narrative and to examine whether the officers themselves could have planted the gun...
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livres
livres
Publication:
septembre 2021
septembre 2021
Sujet:
Social
Social
Classification:
livres
livres
Prix:
$47.95
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Résumé:
Since its invention, photography has been used to document and interpret the landscape. Survey photographers in the 1860s were the first environmental advocates, arguing for the U.S. national park system. During the first half of the 20th century photographers Ansel Adams and Eliot Porter were central figures in influencing American attitudes toward wilderness and(...)
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Since its invention, photography has been used to document and interpret the landscape. Survey photographers in the 1860s were the first environmental advocates, arguing for the U.S. national park system. During the first half of the 20th century photographers Ansel Adams and Eliot Porter were central figures in influencing American attitudes toward wilderness and(...)
Sujet:
Photographie par région
Photographie par région
Publication:
avril 2011
avril 2011
Titre:
Earth now: american photographers and the environment
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Since its invention, photography has been used to document and interpret the landscape. Survey photographers in the 1860s were the first environmental advocates, arguing for the U.S. national park system. During the first half of the 20th century photographers Ansel Adams and Eliot Porter were central figures in influencing American attitudes toward wilderness and conservation. This book traces the development of environmental photography beginning with Adams, Porter and others, and the next generation of landscape photographers - Robert Adams, Richard Misrach, Robert Glenn Ketchum, Patrick Nagatani, Mark Klett, whose works confronted the issues of landscape and the environment in less idealised terms. Shifting from the historical framework, the book presents new work by twenty-three photographers working in the U.S., the next wave of artists using the camera to engage the environmental issues of the day. Ranging from documentary to conceptual, the photographs touch on topics such as land and water use, the human place in the landscape, mounting consumer waste, industrial pollution, roof gardens and the green roof initiative, local food production, energy consumption, and the effects of industry on humans and animals. Katherine Ware's text offers insightful commentary on photography and the ways that environmental issues have been framed and advanced through the medium of photography. This is a powerful commentary on global environmental issues as seen through the lens of the newest wave of environmental photographers. This book is published to coincide with an exhibition to open at the New Mexico Museum of Art, Santa Fe, New Mexico, in April 2011.
Earth now: american photographers and the environment
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$47.95
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Résumé:
Since its invention, photography has been used to document and interpret the landscape. Survey photographers in the 1860s were the first environmental advocates, arguing for the U.S. national park system. During the first half of the 20th century photographers Ansel Adams and Eliot Porter were central figures in influencing American attitudes toward wilderness and conservation. This book traces the development of environmental photography beginning with Adams, Porter and others, and the next generation of landscape photographers - Robert Adams, Richard Misrach, Robert Glenn Ketchum, Patrick Nagatani, Mark Klett, whose works confronted the issues of landscape and the environment in less idealised terms. Shifting from the historical framework, the book presents new work by twenty-three photographers working in the U.S., the next wave of artists using the camera to engage the environmental issues of the day. Ranging from documentary to conceptual, the photographs touch on topics such as land and water use, the human place in the landscape, mounting consumer waste, industrial pollution, roof gardens and the green roof initiative, local food production, energy consumption, and the effects of industry on humans and animals. Katherine Ware's text offers insightful commentary on photography and the ways that environmental issues have been framed and advanced through the medium of photography. This is a powerful commentary on global environmental issues as seen through the lens of the newest wave of environmental photographers. This book is published to coincide with an exhibition to open at the New Mexico Museum of Art, Santa Fe, New Mexico, in April 2011.
Classification:
livres
livres
Publication:
avril 2011
avril 2011
Sujet:
Photographie par région
Photographie par région
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livres
livres
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$40.00
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Wim Wenders (born 1945) started taking photographs at the age of 7. By the age of 12 he had equipped himself with his own darkroom, and by 17 he had acquired his first Leica. A few years later he was to emerge as a leading light in the New German Cinema movement of the late 1960s, making his feature-length directorial debut with Summer in the City (1970). Throughout his(...)
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Résumé:
Wim Wenders (born 1945) started taking photographs at the age of 7. By the age of 12 he had equipped himself with his own darkroom, and by 17 he had acquired his first Leica. A few years later he was to emerge as a leading light in the New German Cinema movement of the late 1960s, making his feature-length directorial debut with Summer in the City (1970). Throughout his(...)
Titre:
Wim Wenders : places, strange and quiet
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Wim Wenders (born 1945) started taking photographs at the age of 7. By the age of 12 he had equipped himself with his own darkroom, and by 17 he had acquired his first Leica. A few years later he was to emerge as a leading light in the New German Cinema movement of the late 1960s, making his feature-length directorial debut with Summer in the City (1970). Throughout his subsequent global acclaim as a director, Wenders has doggedly maintained his life as a photographer. In fact, the two careers have served each other well, as many of his photographs are created while location-scouting for films. His image repertoire of neglected industrial buildings, vacant lots, cemeteries, dilapidated urban niches and courtyards express a mixture of bemusement, melancholy and dislocation. “When you travel a lot, and when you love to just wander around and get lost, you can end up in the strangest spots,” Wenders says. “It must be some sort of built-in radar that often directs me to places that are strangely quiet, or quietly strange.” These strange and quiet color photographs are accompanied by poetical captions, some of which elucidate what is depicted, others of which lightly supplement with an anecdote (one characteristically deadpan caption accompanies an image of a cowboy clown standing at a rodeo: “It is amazing how many different ideas of 'fun' co-exist in this world” ). This publication gathers photographs from 1983 to 2011 in a full panorama of Wenders' photography to date.
Wim Wenders : places, strange and quiet
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Résumé:
Wim Wenders (born 1945) started taking photographs at the age of 7. By the age of 12 he had equipped himself with his own darkroom, and by 17 he had acquired his first Leica. A few years later he was to emerge as a leading light in the New German Cinema movement of the late 1960s, making his feature-length directorial debut with Summer in the City (1970). Throughout his subsequent global acclaim as a director, Wenders has doggedly maintained his life as a photographer. In fact, the two careers have served each other well, as many of his photographs are created while location-scouting for films. His image repertoire of neglected industrial buildings, vacant lots, cemeteries, dilapidated urban niches and courtyards express a mixture of bemusement, melancholy and dislocation. “When you travel a lot, and when you love to just wander around and get lost, you can end up in the strangest spots,” Wenders says. “It must be some sort of built-in radar that often directs me to places that are strangely quiet, or quietly strange.” These strange and quiet color photographs are accompanied by poetical captions, some of which elucidate what is depicted, others of which lightly supplement with an anecdote (one characteristically deadpan caption accompanies an image of a cowboy clown standing at a rodeo: “It is amazing how many different ideas of 'fun' co-exist in this world” ). This publication gathers photographs from 1983 to 2011 in a full panorama of Wenders' photography to date.
Classification:
livres
livres
Publication:
juillet 2011
juillet 2011
Sujet:
Monographies photo
Monographies photo
Classification:
livres
livres
Titre:
Mamma Andersson: Skulptur
Mamma Andersson: Skulptur
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$23.50
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L'artiste suédoise Mamma Andersson peint des intérieurs empreints de mélancolie, exécutés avec élégance dans un style unique juxtaposant les textures et les techniques picturales. Cette série de peintures propose une variation autour de motifs sculpturaux, mis en scène dans des espaces domestiques ou cadrés en plan rapproché. Inspirées par les mises en scènes(...)
$23.50
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Résumé:
L'artiste suédoise Mamma Andersson peint des intérieurs empreints de mélancolie, exécutés avec élégance dans un style unique juxtaposant les textures et les techniques picturales. Cette série de peintures propose une variation autour de motifs sculpturaux, mis en scène dans des espaces domestiques ou cadrés en plan rapproché. Inspirées par les mises en scènes(...)
Titre:
Mamma Andersson: Skulptur
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$23.50
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L'artiste suédoise Mamma Andersson peint des intérieurs empreints de mélancolie, exécutés avec élégance dans un style unique juxtaposant les textures et les techniques picturales. Cette série de peintures propose une variation autour de motifs sculpturaux, mis en scène dans des espaces domestiques ou cadrés en plan rapproché. Inspirées par les mises en scènes cinématographique et théâtrale, ou les peintures d'époque, les compositions de Karin Mamma Andersson (née en 1962, Luleå, Suède, vit et travaille à Stockholm) se caractérisent par leur sensibilité onirique et leur expressivité. Si ses références stylistiques vont de la peinture figurative nordique du début du XXe siècle à l'art populaire et vernaculaire, son utilisation de l'espace pictural et ses juxtapositions de peintures épaisses et de dessins au lavis lui sont propres. L'artiste prend régulièrement pour sujet des paysages et des intérieurs où s'expriment la mélancolie. En 2011, le travail d'Andersson a fait l'objet d'une exposition individuelle au Museum Haus Esters à Krefeld, en Allemagne. Elle a également exposé au Aspen Art Museum, Colorado, en 2010, à la Douglas Hyde Gallery, Dublin, en 2009, ainsi qu'au Moderna Museet, Stockholm, pour une rétrospective célébrée qui voyagera à la Kunsthalle Helsinki et au Camden Arts Centre de Londres. En 2006, Mamma Andersson a remporté le Carnegie Art Award, prix prestigieux consacrant la peinture nordique. Son travail a été présenté au Pavillon nordique à la 50e Biennale de Venise en 2003. Ses œuvres font partie des collections du Dallas Museum of Art, du Göteborgs Konstmuseum, (Göteborg, Suède), du Hammer Museum (Los Angeles), du Magasin 3 (Stockholm), du Malmö Konstmuseum (Suède), du Museum of Contemporary Art (Los Angeles), du Museum of Modern Art (New York), du Moderna Museet (Stockholm) et du Västerås Konstmuseum (Suède).
Mamma Andersson: Skulptur
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$23.50
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L'artiste suédoise Mamma Andersson peint des intérieurs empreints de mélancolie, exécutés avec élégance dans un style unique juxtaposant les textures et les techniques picturales. Cette série de peintures propose une variation autour de motifs sculpturaux, mis en scène dans des espaces domestiques ou cadrés en plan rapproché. Inspirées par les mises en scènes cinématographique et théâtrale, ou les peintures d'époque, les compositions de Karin Mamma Andersson (née en 1962, Luleå, Suède, vit et travaille à Stockholm) se caractérisent par leur sensibilité onirique et leur expressivité. Si ses références stylistiques vont de la peinture figurative nordique du début du XXe siècle à l'art populaire et vernaculaire, son utilisation de l'espace pictural et ses juxtapositions de peintures épaisses et de dessins au lavis lui sont propres. L'artiste prend régulièrement pour sujet des paysages et des intérieurs où s'expriment la mélancolie. En 2011, le travail d'Andersson a fait l'objet d'une exposition individuelle au Museum Haus Esters à Krefeld, en Allemagne. Elle a également exposé au Aspen Art Museum, Colorado, en 2010, à la Douglas Hyde Gallery, Dublin, en 2009, ainsi qu'au Moderna Museet, Stockholm, pour une rétrospective célébrée qui voyagera à la Kunsthalle Helsinki et au Camden Arts Centre de Londres. En 2006, Mamma Andersson a remporté le Carnegie Art Award, prix prestigieux consacrant la peinture nordique. Son travail a été présenté au Pavillon nordique à la 50e Biennale de Venise en 2003. Ses œuvres font partie des collections du Dallas Museum of Art, du Göteborgs Konstmuseum, (Göteborg, Suède), du Hammer Museum (Los Angeles), du Magasin 3 (Stockholm), du Malmö Konstmuseum (Suède), du Museum of Contemporary Art (Los Angeles), du Museum of Modern Art (New York), du Moderna Museet (Stockholm) et du Västerås Konstmuseum (Suède).
Classification:
livres
livres
Publication:
mai 2017
mai 2017
Sujet:
Zines
Zines
Classification:
périodiques
périodiques
Titre:
Langages.
Langages.
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Description:
1 online resource (no.)
Sujet:
Publication:
Paris, Didier-Larousse.
Paris, Didier-Larousse.
Classification:
périodiques
périodiques
Publication:
Paris, Didier-Larousse.
Paris, Didier-Larousse.
Sujet:
Classification:
audio
audio
Titre:
Pulsar Threads.
Pulsar Threads.
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1 online resource.
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Publication:
[Place of publication not identified] : Lateral Addition, 2024.
[Place of publication not identified] : Lateral Addition, 2024.
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audio
audio
Publication:
[Place of publication not identified] : Lateral Addition, 2024.
[Place of publication not identified] : Lateral Addition, 2024.
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Classification:
périodiques
périodiques
Titre:
Estudos feministas.
Estudos feministas.
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1 online resource (volumes : illustrations
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Rio de Janeiro : CIEC, Escola de Comunicação, UFRJ, 1993-
Rio de Janeiro : CIEC, Escola de Comunicação, UFRJ, 1993-
Classification:
périodiques
périodiques
Publication:
Rio de Janeiro : CIEC, Escola de Comunicação, UFRJ, 1993-
Rio de Janeiro : CIEC, Escola de Comunicação, UFRJ, 1993-
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archives
archives
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143,342 digital files (517.39 GB), 24.24 linear meters of textual records, 17,086 photographic materials, 1125 drawings, 195 ephemera, 59 périodiques, 50 audio cassettes,...
Description:
143,342 digital files (517.39 GB), 24.24 linear meters of textual records, 17,086 photographic materials, 1125 drawings, 195 ephemera, 59 périodiques, 50 audio cassettes,...
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Titre:
Jean-Louis Cohen fonds, 1968-2023
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143,342 digital files (517.39 GB), 24.24 linear meters of textual records, 17,086 photographic materials, 1125 drawings, 195 ephemera, 59 périodiques, 50 audio cassettes,...
Jean-Louis Cohen fonds, 1968-2023
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143,342 digital files (517.39 GB), 24.24 linear meters of textual records, 17,086 photographic materials, 1125 drawings, 195 ephemera, 59 périodiques, 50 audio cassettes,...
Classification:
archives
archives
Auteur:
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Classification:
audio
audio
Description:
1 online resource.
Auteur:
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Publication:
[Place of publication not identified] : Lateral Addition, 2016.
[Place of publication not identified] : Lateral Addition, 2016.
Titre:
A Partial Exegesis of Cricket, its Laws and Rituals.
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Description:
1 online resource.
A Partial Exegesis of Cricket, its Laws and Rituals.
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Description:
1 online resource.
Classification:
audio
audio
Publication:
[Place of publication not identified] : Lateral Addition, 2016.
[Place of publication not identified] : Lateral Addition, 2016.
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Classification:
périodiques
périodiques
Titre:
India perspectives.
India perspectives.
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Description:
v. : ill. ; 28 cm.
Description:
v. : ill. ; 28 cm.
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[New Delhi : PTI for the Ministry of External Affairs, 1988]-
[New Delhi : PTI for the Ministry of External Affairs, 1988]-
Classification:
périodiques
périodiques
Publication:
[New Delhi : PTI for the Ministry of External Affairs, 1988]-
[New Delhi : PTI for the Ministry of External Affairs, 1988]-
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