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96 pages : color illustrations, color map ; 21 cm
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96 pages : color illustrations, color map ; 21 cm
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Erin, Ont. : Boston Mills Press, 1996.
Erin, Ont. : Boston Mills Press, 1996.
Titre:
Bonfires & beacons : Great Lakes lighthouses / Larry & Patricia Wright.
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Description:
96 pages : color illustrations, color map ; 21 cm
Bonfires & beacons : Great Lakes lighthouses / Larry & Patricia Wright.
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96 pages : color illustrations, color map ; 21 cm
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livres
livres
Publication:
Erin, Ont. : Boston Mills Press, 1996.
Erin, Ont. : Boston Mills Press, 1996.
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audio
audio
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1 online resource.
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[Place of publication not identified] : Junior Aspirin Records, 2014.
[Place of publication not identified] : Junior Aspirin Records, 2014.
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audio
audio
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[Place of publication not identified] : Junior Aspirin Records, 2014.
[Place of publication not identified] : Junior Aspirin Records, 2014.
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livres
livres
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$14.99
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Since the early 1990s, German photographer Michael Wesely has been inventing and refining techniques for using extremely long camera exposures to take uniquely compelling photographs. Through the use of filters and a very small aperture, yet one that is standard in a professional camera lens, he is able to diminish the amount of light hitting the negative to the point(...)
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Since the early 1990s, German photographer Michael Wesely has been inventing and refining techniques for using extremely long camera exposures to take uniquely compelling photographs. Through the use of filters and a very small aperture, yet one that is standard in a professional camera lens, he is able to diminish the amount of light hitting the negative to the point(...)
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livres soldés
livres soldés
Publication:
novembre 2004, New York
novembre 2004, New York
Titre:
Michael Wesely : open shutter : the museum of modern art
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Since the early 1990s, German photographer Michael Wesely has been inventing and refining techniques for using extremely long camera exposures to take uniquely compelling photographs. Through the use of filters and a very small aperture, yet one that is standard in a professional camera lens, he is able to diminish the amount of light hitting the negative to the point where he can extend the exposure many thousands of times longer than we would ordinarily expect. Some of Wesely’s pictures of the rebuilding of Berlin’s Potsdamer Platz, for example, in a series completed in 1999, were continuously exposed over a period of 26 months. The results of Wesely’s explorations are as surprising as they are beautiful. In 2001, as The Museum of Modern Art began to prepare for its ambitious construction and renovation project, a turning point in its history, it recognized in Wesely’s work an unequalled opportunity to artistically document that project. In August of that year, then, Wesely set specially designed cameras in long-term installations in and around the museum, choosing his locations for the construction views they provided. Nearly three years later, the images are complete, and their pentimento-like strata of transparencies and overlays render the construction project’s evolution in time as a dense and delicate network of forms and colors in space. "Open shutter" accompanies an exhibition organized by Sarah Hermanson Meister, Associate curator of the museum’s Department of photography. Included in the book are several images of the construction of the new Museum of Modern Art.
Michael Wesely : open shutter : the museum of modern art
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Since the early 1990s, German photographer Michael Wesely has been inventing and refining techniques for using extremely long camera exposures to take uniquely compelling photographs. Through the use of filters and a very small aperture, yet one that is standard in a professional camera lens, he is able to diminish the amount of light hitting the negative to the point where he can extend the exposure many thousands of times longer than we would ordinarily expect. Some of Wesely’s pictures of the rebuilding of Berlin’s Potsdamer Platz, for example, in a series completed in 1999, were continuously exposed over a period of 26 months. The results of Wesely’s explorations are as surprising as they are beautiful. In 2001, as The Museum of Modern Art began to prepare for its ambitious construction and renovation project, a turning point in its history, it recognized in Wesely’s work an unequalled opportunity to artistically document that project. In August of that year, then, Wesely set specially designed cameras in long-term installations in and around the museum, choosing his locations for the construction views they provided. Nearly three years later, the images are complete, and their pentimento-like strata of transparencies and overlays render the construction project’s evolution in time as a dense and delicate network of forms and colors in space. "Open shutter" accompanies an exhibition organized by Sarah Hermanson Meister, Associate curator of the museum’s Department of photography. Included in the book are several images of the construction of the new Museum of Modern Art.
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livres
livres
Publication:
novembre 2004, New York
novembre 2004, New York
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livres soldés
livres soldés
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ix, 293 pages : illustrations (chiefly color) ; 23 x 28 cm
Description:
ix, 293 pages : illustrations (chiefly color) ; 23 x 28 cm
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New York : W.W. Norton & Company, [2007], ©2007
New York : W.W. Norton & Company, [2007], ©2007
Titre:
The Lincoln Highway : coast to coast from Times Square to the Golden Gate / Michael Wallis and Michael S. Williamson.
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ix, 293 pages : illustrations (chiefly color) ; 23 x 28 cm
The Lincoln Highway : coast to coast from Times Square to the Golden Gate / Michael Wallis and Michael S. Williamson.
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ix, 293 pages : illustrations (chiefly color) ; 23 x 28 cm
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livres
livres
Publication:
New York : W.W. Norton & Company, [2007], ©2007
New York : W.W. Norton & Company, [2007], ©2007
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livres
livres
Titre:
The new downtown library
The new downtown library
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$45.00
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The past twenty years have seen a building boom for downtown public libraries. From Brooklyn to Seattle, architects, civic leaders, and citizens in major U.S. cities have worked to reassert the relevance of the central library. While the libraries’ primary functions—as public spaces where information is gathered, organized, preserved, and made available for use—have not(...)
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The past twenty years have seen a building boom for downtown public libraries. From Brooklyn to Seattle, architects, civic leaders, and citizens in major U.S. cities have worked to reassert the relevance of the central library. While the libraries’ primary functions—as public spaces where information is gathered, organized, preserved, and made available for use—have not(...)
Publication:
janvier 2007, Minneapolis / London
janvier 2007, Minneapolis / London
Titre:
The new downtown library
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$45.00
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The past twenty years have seen a building boom for downtown public libraries. From Brooklyn to Seattle, architects, civic leaders, and citizens in major U.S. cities have worked to reassert the relevance of the central library. While the libraries’ primary functions—as public spaces where information is gathered, organized, preserved, and made available for use—have not changed over the years, the processes by which they accomplish these goals have. These new processes, and the public debates surrounding them, have radically influenced the utility and design of new library buildings. In The New Downtown Library, Shannon Mattern draws on a diverse range of sources to investigate how libraries serve as multiuse public spaces, anchors in urban redevelopment, civic icons, and showcases of renowned architects like Rem Koolhaas, Cesar Pelli, and Enrique Norton. Mattern’s clear and careful analysis reveals the complexity of contemporary dialogues in library design, highlighting the roles that staff, the public, and other special interest groups play. Mattern also describes how the libraries manifest changing demographics, new ways of organizing collections and delivering media, and current philosophies of librarianship. By identifying unifying themes as well as examining the differences among various design projects, Mattern brings to light the social forces, as well as their architectural expressions, that form the essence of new libraries and their vital place in public life. Featured libraries are located in Brooklyn, Cincinnati, Cleveland, Chicago, Denver, Los Angeles, Minneapolis, Nashville, New York, Phoenix, Salt Lake City, San Antonio, San Francisco, Seattle, and Toledo.
The new downtown library
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$45.00
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The past twenty years have seen a building boom for downtown public libraries. From Brooklyn to Seattle, architects, civic leaders, and citizens in major U.S. cities have worked to reassert the relevance of the central library. While the libraries’ primary functions—as public spaces where information is gathered, organized, preserved, and made available for use—have not changed over the years, the processes by which they accomplish these goals have. These new processes, and the public debates surrounding them, have radically influenced the utility and design of new library buildings. In The New Downtown Library, Shannon Mattern draws on a diverse range of sources to investigate how libraries serve as multiuse public spaces, anchors in urban redevelopment, civic icons, and showcases of renowned architects like Rem Koolhaas, Cesar Pelli, and Enrique Norton. Mattern’s clear and careful analysis reveals the complexity of contemporary dialogues in library design, highlighting the roles that staff, the public, and other special interest groups play. Mattern also describes how the libraries manifest changing demographics, new ways of organizing collections and delivering media, and current philosophies of librarianship. By identifying unifying themes as well as examining the differences among various design projects, Mattern brings to light the social forces, as well as their architectural expressions, that form the essence of new libraries and their vital place in public life. Featured libraries are located in Brooklyn, Cincinnati, Cleveland, Chicago, Denver, Los Angeles, Minneapolis, Nashville, New York, Phoenix, Salt Lake City, San Antonio, San Francisco, Seattle, and Toledo.
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livres
livres
Publication:
janvier 2007, Minneapolis / London
janvier 2007, Minneapolis / London
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livres
livres
Titre:
Bad modernisms
Bad modernisms
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$31.50
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Résumé:
At the dawn of the twenty-first century, poets and architects, designers and critics, teachers and artists are rediscovering the virtues of the previous century's most vibrant cultural constellation. Yet this widespread embrace raises questions about modernism's relation to its own success. Modernism's “badness” — its emphasis on outrageous behavior, its elevation of(...)
$31.50
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At the dawn of the twenty-first century, poets and architects, designers and critics, teachers and artists are rediscovering the virtues of the previous century's most vibrant cultural constellation. Yet this widespread embrace raises questions about modernism's relation to its own success. Modernism's “badness” — its emphasis on outrageous behavior, its elevation of(...)
Titre:
Bad modernisms
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$31.50
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At the dawn of the twenty-first century, poets and architects, designers and critics, teachers and artists are rediscovering the virtues of the previous century's most vibrant cultural constellation. Yet this widespread embrace raises questions about modernism's relation to its own success. Modernism's “badness” — its emphasis on outrageous behavior, its elevation of negativity, its refusal to be condoned —seems essential to its power. But once modernism is accepted as “good” or valuable (as a great deal of modernist art now is), its status as a subversive aesthetic intervention seems undermined. The contributors to "Bad modernisms" tease out the contradictions in modernism's commitment to badness "Bad modernisms" thus builds on and extends the “new modernist studies,” recent work marked by the application of diverse methods and attention to texts and artists not usually labeled as modernist. In this collection, these developments are exemplified by essays ranging from a reading of dandyism in 1920s Harlem as a performance of a “bad” black modernist imaginary to a consideration of Filipino American modernism in the context of anticolonialism. The contributors reconsider familiar figures—such as Virginia Woolf, D. H. Lawrence, Josef von Sternberg, Ludwig Wittgenstein, W. H. Auden, and Wyndham Lewis—and bring to light the work of lesser-known artists, including the writer Carlos Bulosan and the experimental filmmaker Len Lye. Examining cultural artifacts ranging from novels to manifestos, from philosophical treatises to movie musicals, and from anthropological essays to advertising campaigns, these essays signal the capaciousness and energy galvanizing the new modernist studies.
Bad modernisms
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$31.50
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At the dawn of the twenty-first century, poets and architects, designers and critics, teachers and artists are rediscovering the virtues of the previous century's most vibrant cultural constellation. Yet this widespread embrace raises questions about modernism's relation to its own success. Modernism's “badness” — its emphasis on outrageous behavior, its elevation of negativity, its refusal to be condoned —seems essential to its power. But once modernism is accepted as “good” or valuable (as a great deal of modernist art now is), its status as a subversive aesthetic intervention seems undermined. The contributors to "Bad modernisms" tease out the contradictions in modernism's commitment to badness "Bad modernisms" thus builds on and extends the “new modernist studies,” recent work marked by the application of diverse methods and attention to texts and artists not usually labeled as modernist. In this collection, these developments are exemplified by essays ranging from a reading of dandyism in 1920s Harlem as a performance of a “bad” black modernist imaginary to a consideration of Filipino American modernism in the context of anticolonialism. The contributors reconsider familiar figures—such as Virginia Woolf, D. H. Lawrence, Josef von Sternberg, Ludwig Wittgenstein, W. H. Auden, and Wyndham Lewis—and bring to light the work of lesser-known artists, including the writer Carlos Bulosan and the experimental filmmaker Len Lye. Examining cultural artifacts ranging from novels to manifestos, from philosophical treatises to movie musicals, and from anthropological essays to advertising campaigns, these essays signal the capaciousness and energy galvanizing the new modernist studies.
Classification:
livres
livres
Publication:
mars 2006
mars 2006
Sujet:
Théorie de l’architecture
Théorie de l’architecture
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livres
livres
Prix:
$39.95
(disponible sur commande)
Résumé:
Beginning with agoraphobia and claustrophobia in the late nineteenth century, followed by shell shock and panic fear after World War I, phobias and anxiety came to be seen as the mental condition of modern life. They became incorporated into the media and arts, in particular the (...)
$39.95
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Beginning with agoraphobia and claustrophobia in the late nineteenth century, followed by shell shock and panic fear after World War I, phobias and anxiety came to be seen as the mental condition of modern life. They became incorporated into the media and arts, in particular the (...)
Titre:
Warped space : art, architecture, and anxiety in modern culture
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Beginning with agoraphobia and claustrophobia in the late nineteenth century, followed by shell shock and panic fear after World War I, phobias and anxiety came to be seen as the mental condition of modern life. They became incorporated into the media and arts, in particular the spatial arts of architecture, urbanism, and film. This "spatial warping" is now being reshaped by digitalization and virtual reality. Anthony Vidler is concerned with two forms of warped space. The first, a psychological space, is the repository of neuroses and phobias. This space is not empty but full of disturbing forms, including those of architecture and the city. The second kind of warping is produced when artists break the boundaries of genre to depict space in new ways. Vidler traces the emergence of a psychological idea of space from Pascal and Freud to the identification of agoraphobia and claustrophobia in the nineteenth century to twentieth-century theories of spatial alienation and estrangement in the writings of Georg Simmel, Siegfried Kracauer, and Walter Benjamin. Focusing on current conditions of displacement and placelessness, he examines ways in which contemporary artists and architects have produced new forms of spatial warping. The discussion ranges from theorists such as Jacques Lacan and Gilles Deleuze to artists such as Vito Acconci, Mike Kelley, Martha Rosler, and Rachel Whiteread. Finally, Vidler looks at the architectural experiments of Frank Gehry, Coop Himmelblau, Daniel Libeskind, Greg Lynn, Morphosis, and Eric Owen Moss in the light of new digital techniques that, while relying on traditional perspective, have radically transformed the composition, production, and experience of architecture.
Warped space : art, architecture, and anxiety in modern culture
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$39.95
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Résumé:
Beginning with agoraphobia and claustrophobia in the late nineteenth century, followed by shell shock and panic fear after World War I, phobias and anxiety came to be seen as the mental condition of modern life. They became incorporated into the media and arts, in particular the spatial arts of architecture, urbanism, and film. This "spatial warping" is now being reshaped by digitalization and virtual reality. Anthony Vidler is concerned with two forms of warped space. The first, a psychological space, is the repository of neuroses and phobias. This space is not empty but full of disturbing forms, including those of architecture and the city. The second kind of warping is produced when artists break the boundaries of genre to depict space in new ways. Vidler traces the emergence of a psychological idea of space from Pascal and Freud to the identification of agoraphobia and claustrophobia in the nineteenth century to twentieth-century theories of spatial alienation and estrangement in the writings of Georg Simmel, Siegfried Kracauer, and Walter Benjamin. Focusing on current conditions of displacement and placelessness, he examines ways in which contemporary artists and architects have produced new forms of spatial warping. The discussion ranges from theorists such as Jacques Lacan and Gilles Deleuze to artists such as Vito Acconci, Mike Kelley, Martha Rosler, and Rachel Whiteread. Finally, Vidler looks at the architectural experiments of Frank Gehry, Coop Himmelblau, Daniel Libeskind, Greg Lynn, Morphosis, and Eric Owen Moss in the light of new digital techniques that, while relying on traditional perspective, have radically transformed the composition, production, and experience of architecture.
Classification:
livres
livres
Publication:
avril 2002, Cambridge, Mass.
avril 2002, Cambridge, Mass.
Sujet:
Théorie de l’architecture
Théorie de l’architecture
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livres
livres
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$63.95
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The Scottish urbanist and biologist Patrick Geddes (1854-1932) is perhaps best known for introducing the concept of "region" to architecture and planning. At the turn of the twentieth century, he was one of the strongest advocates of town planning and an active participant in debates about the future of the city. He was arguably the first planner to recognize the(...)
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The Scottish urbanist and biologist Patrick Geddes (1854-1932) is perhaps best known for introducing the concept of "region" to architecture and planning. At the turn of the twentieth century, he was one of the strongest advocates of town planning and an active participant in debates about the future of the city. He was arguably the first planner to recognize the(...)
Titre:
Biopolis : Patrick Geddes and the city of life
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$63.95
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The Scottish urbanist and biologist Patrick Geddes (1854-1932) is perhaps best known for introducing the concept of "region" to architecture and planning. At the turn of the twentieth century, he was one of the strongest advocates of town planning and an active participant in debates about the future of the city. He was arguably the first planner to recognize the importance of historic city centers, and his renewal work in Edinburgh’s Old Town is visible and impressive to this day. Geddes’s famous analytical triad--place, work, and folk, corresponding to the geographical, historical, and spiritual aspects of the city--provides the basic structure of this examination of his urban theory. Volker Welter examines Geddes’s ideas in the light of nineteenth-century biology--in which Geddes received his academic training--showing Geddes’s use of biological concepts to be far more sophisticated than popular images of the city as an organic entity. His urbanism was informed by his lifelong interest in the theory of evolution and in ecology, cutting-edge areas in the late nineteenth century. Balancing Geddes’s biological thought is his interest in the historical Greek concept of polis, usually translated as city-state but implying a view of the city as a cultural and spiritual phenomenon. Although Geddes’s work was far-ranging, the city provided the unifying focus of nearly all of his theoretical and practical work. Throughout the book, Welter relates Geddes’s theory of the city to contemporary European debates about architecture and urbanism. Foreword by Iain Boyd Whyte.
Biopolis : Patrick Geddes and the city of life
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$63.95
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Résumé:
The Scottish urbanist and biologist Patrick Geddes (1854-1932) is perhaps best known for introducing the concept of "region" to architecture and planning. At the turn of the twentieth century, he was one of the strongest advocates of town planning and an active participant in debates about the future of the city. He was arguably the first planner to recognize the importance of historic city centers, and his renewal work in Edinburgh’s Old Town is visible and impressive to this day. Geddes’s famous analytical triad--place, work, and folk, corresponding to the geographical, historical, and spiritual aspects of the city--provides the basic structure of this examination of his urban theory. Volker Welter examines Geddes’s ideas in the light of nineteenth-century biology--in which Geddes received his academic training--showing Geddes’s use of biological concepts to be far more sophisticated than popular images of the city as an organic entity. His urbanism was informed by his lifelong interest in the theory of evolution and in ecology, cutting-edge areas in the late nineteenth century. Balancing Geddes’s biological thought is his interest in the historical Greek concept of polis, usually translated as city-state but implying a view of the city as a cultural and spiritual phenomenon. Although Geddes’s work was far-ranging, the city provided the unifying focus of nearly all of his theoretical and practical work. Throughout the book, Welter relates Geddes’s theory of the city to contemporary European debates about architecture and urbanism. Foreword by Iain Boyd Whyte.
Classification:
livres
livres
Publication:
novembre 2001, Cambridge, Mass.
novembre 2001, Cambridge, Mass.
Sujet:
Théorie de l’urbanisme
Théorie de l’urbanisme
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livres
livres
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$31.50
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Vladimir Nabokov could hear color. As he described it – "perhaps “hearing” is not quite accurate, since the color sensation seems to be produced by the very act of my orally forming a given letter while I imagine its outline. The long a of the English alphabet . . . has for me the tint of weathered wood, but a French a evokes polished ebony. This black group also includes(...)
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Vladimir Nabokov could hear color. As he described it – "perhaps “hearing” is not quite accurate, since the color sensation seems to be produced by the very act of my orally forming a given letter while I imagine its outline. The long a of the English alphabet . . . has for me the tint of weathered wood, but a French a evokes polished ebony. This black group also includes(...)
Publication:
octobre 2005, Corte Madera
octobre 2005, Corte Madera
Titre:
Vladimir Nabokov : alphabet in color
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$31.50
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Vladimir Nabokov could hear color. As he described it – "perhaps “hearing” is not quite accurate, since the color sensation seems to be produced by the very act of my orally forming a given letter while I imagine its outline. The long a of the English alphabet . . . has for me the tint of weathered wood, but a French a evokes polished ebony. This black group also includes hard g (vulcanized rubber) and r (a sooty rag being ripped). Oatmeal n, noodle-limp l, and the ivory-backed hand mirror of o take care of the whites". For anyone who has ever wondered how the colors Nabokov heard might manifest themselves visually, "Alphabet in color" is a remarkable journey of discovery. Jean Holabird’s interpretation of the colored alphabets of one of the twentieth century’s literary greats is a revelation. Nabokov saw rich colors in letters and sounds and noted the deficiency of color in literature, praising Gogol as the first Russian writer to truly appreciate yellow and violet. This book masterfully brings to life the charming and vibrant synesthetic colored letters that until now existed only in Nabokov’s mind. In "Alphabet in color" Jean Holabird’s grasp of form and space blends perfectly with Nabokov’s idea that a subtle interaction exists between sound and shape. He saw q as browner than k, while s is not the light blue of c, but a curious mixture of azure and mother-of-pearl. . . . "Dull green, combined somehow with violet, is the best I can do for w".
Vladimir Nabokov : alphabet in color
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Vladimir Nabokov could hear color. As he described it – "perhaps “hearing” is not quite accurate, since the color sensation seems to be produced by the very act of my orally forming a given letter while I imagine its outline. The long a of the English alphabet . . . has for me the tint of weathered wood, but a French a evokes polished ebony. This black group also includes hard g (vulcanized rubber) and r (a sooty rag being ripped). Oatmeal n, noodle-limp l, and the ivory-backed hand mirror of o take care of the whites". For anyone who has ever wondered how the colors Nabokov heard might manifest themselves visually, "Alphabet in color" is a remarkable journey of discovery. Jean Holabird’s interpretation of the colored alphabets of one of the twentieth century’s literary greats is a revelation. Nabokov saw rich colors in letters and sounds and noted the deficiency of color in literature, praising Gogol as the first Russian writer to truly appreciate yellow and violet. This book masterfully brings to life the charming and vibrant synesthetic colored letters that until now existed only in Nabokov’s mind. In "Alphabet in color" Jean Holabird’s grasp of form and space blends perfectly with Nabokov’s idea that a subtle interaction exists between sound and shape. He saw q as browner than k, while s is not the light blue of c, but a curious mixture of azure and mother-of-pearl. . . . "Dull green, combined somehow with violet, is the best I can do for w".
Classification:
livres
livres
Publication:
octobre 2005, Corte Madera
octobre 2005, Corte Madera
Classification:
livres
livres
Titre:
Laure Tiberghien
Laure Tiberghien
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$65.00
(disponible en magasin)
Résumé:
This book is the first monograph to be published on the artist Laure Tiberghien. It brings together 84 prints, allowing the reader to gain an appreciation of 10 years of work and experimentation. Tiberghien is intrigued by the visual and plastic aspects of photography and enjoys exploring the inventive potential of this medium. She has developed a process avoiding the use(...)
$65.00
(disponible en magasin)
Résumé:
This book is the first monograph to be published on the artist Laure Tiberghien. It brings together 84 prints, allowing the reader to gain an appreciation of 10 years of work and experimentation. Tiberghien is intrigued by the visual and plastic aspects of photography and enjoys exploring the inventive potential of this medium. She has developed a process avoiding the use(...)
Titre:
Laure Tiberghien
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Prix:
$65.00
(disponible en magasin)
Résumé:
This book is the first monograph to be published on the artist Laure Tiberghien. It brings together 84 prints, allowing the reader to gain an appreciation of 10 years of work and experimentation. Tiberghien is intrigued by the visual and plastic aspects of photography and enjoys exploring the inventive potential of this medium. She has developed a process avoiding the use of the camera that takes its place within a long lineage of experimentation in photography, which has notably given rise to Anna Atkins’ cyanotypes and Man Ray’s Rayographs. Produced through the combination of chemistry, light and time, her ''abstract'' photographs emerge from a masterful approach to composition, whereby colours are organized after having been tested first to obtain the desired tone relationships. The surface, in this case the type of paper selected, also plays a primordial role. For example, Cibachrome results in a ''wet'' effect and very dense colours whereas a metallic paper offers a more electric result. If at times she may leave things open to accident or chance, while giving life to shapes and colours Tiberghien has put in place a procedure, through her constant testing, that although far from mechanical affords her control over the result. All the pieces she produces in this manner are necessarily unique, another feature her art shares with painting. The book’s design, by the studio SP Millot, arrays the text of the essay by Erik Verhagen across its pages, in a way that punctuates the images just as the images propel the text.
Laure Tiberghien
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Prix:
$65.00
(disponible en magasin)
Résumé:
This book is the first monograph to be published on the artist Laure Tiberghien. It brings together 84 prints, allowing the reader to gain an appreciation of 10 years of work and experimentation. Tiberghien is intrigued by the visual and plastic aspects of photography and enjoys exploring the inventive potential of this medium. She has developed a process avoiding the use of the camera that takes its place within a long lineage of experimentation in photography, which has notably given rise to Anna Atkins’ cyanotypes and Man Ray’s Rayographs. Produced through the combination of chemistry, light and time, her ''abstract'' photographs emerge from a masterful approach to composition, whereby colours are organized after having been tested first to obtain the desired tone relationships. The surface, in this case the type of paper selected, also plays a primordial role. For example, Cibachrome results in a ''wet'' effect and very dense colours whereas a metallic paper offers a more electric result. If at times she may leave things open to accident or chance, while giving life to shapes and colours Tiberghien has put in place a procedure, through her constant testing, that although far from mechanical affords her control over the result. All the pieces she produces in this manner are necessarily unique, another feature her art shares with painting. The book’s design, by the studio SP Millot, arrays the text of the essay by Erik Verhagen across its pages, in a way that punctuates the images just as the images propel the text.
Classification:
livres
livres
Publication:
septembre 2023
septembre 2023
Sujet:
Monographies photo
Monographies photo
