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Stephen Shore : steel town
Stephen Shore : steel town
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In 1977, Stephen Shore travelled across New York state, Pennsylvania, and eastern Ohio – an area in the midst of industrial decline that would eventually be known as the Rust Belt. Shore met steelworkers who had been thrown out of work by plant closures and photographed their suddenly fragile world: deserted factories, lonely bars, dwindling high streets, and lovingly(...)
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In 1977, Stephen Shore travelled across New York state, Pennsylvania, and eastern Ohio – an area in the midst of industrial decline that would eventually be known as the Rust Belt. Shore met steelworkers who had been thrown out of work by plant closures and photographed their suddenly fragile world: deserted factories, lonely bars, dwindling high streets, and lovingly(...)
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Stephen Shore : steel town
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In 1977, Stephen Shore travelled across New York state, Pennsylvania, and eastern Ohio – an area in the midst of industrial decline that would eventually be known as the Rust Belt. Shore met steelworkers who had been thrown out of work by plant closures and photographed their suddenly fragile world: deserted factories, lonely bars, dwindling high streets, and lovingly decorated homes. Across these images, a prosperous middle America is seen teetering on the precipice of disastrous decline. Hope and despair alike lurk restlessly behind the surfaces of shop fronts, domestic interiors, and the fraught expressions of those who confront Shore’s 4x5'' view camera. Originally commissioned as an extended photographic report for Fortune Magazine in the vein of Walker Evans, Shore’s multifaceted investigation has only gained political salience in the intervening years. Shore’s subjects – including workers, union leaders, and family members – had voted for Jimmy Carter the year preceding his visit; now he found them disillusioned with the new president, fated to leave behind the Democratic party and become the ‘Reagan Democrats’. Through unfailingly engrossing images by one of the world’s acknowledged masters, Steel Town provides an immersive portrait of a time and place whose significance to our own is ever more urgent.
Stephen Shore : steel town
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In 1977, Stephen Shore travelled across New York state, Pennsylvania, and eastern Ohio – an area in the midst of industrial decline that would eventually be known as the Rust Belt. Shore met steelworkers who had been thrown out of work by plant closures and photographed their suddenly fragile world: deserted factories, lonely bars, dwindling high streets, and lovingly decorated homes. Across these images, a prosperous middle America is seen teetering on the precipice of disastrous decline. Hope and despair alike lurk restlessly behind the surfaces of shop fronts, domestic interiors, and the fraught expressions of those who confront Shore’s 4x5'' view camera. Originally commissioned as an extended photographic report for Fortune Magazine in the vein of Walker Evans, Shore’s multifaceted investigation has only gained political salience in the intervening years. Shore’s subjects – including workers, union leaders, and family members – had voted for Jimmy Carter the year preceding his visit; now he found them disillusioned with the new president, fated to leave behind the Democratic party and become the ‘Reagan Democrats’. Through unfailingly engrossing images by one of the world’s acknowledged masters, Steel Town provides an immersive portrait of a time and place whose significance to our own is ever more urgent.
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livres
livres
Publication:
avril 2021
avril 2021
Sujet:
Monographies photo
Monographies photo
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livres
livres
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$62.50
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n 1954, the French writer, politician, and publisher André Malraux (1901–1976) posed at home for a photographer from the magazine Paris Match, surrounded by pages from his forthcoming book Le musée imaginaire de la sculpture mondiale. The enchanting metaphor of the musée imaginaire (imaginary museum) was built upon that illustrated art book, and Malraux was one of its(...)
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n 1954, the French writer, politician, and publisher André Malraux (1901–1976) posed at home for a photographer from the magazine Paris Match, surrounded by pages from his forthcoming book Le musée imaginaire de la sculpture mondiale. The enchanting metaphor of the musée imaginaire (imaginary museum) was built upon that illustrated art book, and Malraux was one of its(...)
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The book on the floor: André Malraux and the imaginary museum
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n 1954, the French writer, politician, and publisher André Malraux (1901–1976) posed at home for a photographer from the magazine Paris Match, surrounded by pages from his forthcoming book Le musée imaginaire de la sculpture mondiale. The enchanting metaphor of the musée imaginaire (imaginary museum) was built upon that illustrated art book, and Malraux was one of its greatest champions. Drawing on a range of contemporary publications, he adopted images and responded to ideas. Indeed, Malraux’s book on the floor is a variation of photographer André Vigneau’s spectacular Encyclopédie photographique de l’art, published in five volumes from 1935 on—years before Malraux would enter this field. Both authors were engaged in juxtaposing artworks via photographs and publishing these photographs by the hundreds, but Malraux was the better sloganeer. Starting from a close examination of the photograph of Malraux in his salon, art historian Walter Grasskamp takes the reader back to the dawn of this genre of illustrated art book. He shows how it catalyzed the practice of comparing works of art on a global scale. He retraces the metaphor to earlier reproduction practices and highlights its ubiquity in contemporary art, ending with an homage to the other pioneer of the “museum without walls,” the unjustly forgotten Vigneau.
The book on the floor: André Malraux and the imaginary museum
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n 1954, the French writer, politician, and publisher André Malraux (1901–1976) posed at home for a photographer from the magazine Paris Match, surrounded by pages from his forthcoming book Le musée imaginaire de la sculpture mondiale. The enchanting metaphor of the musée imaginaire (imaginary museum) was built upon that illustrated art book, and Malraux was one of its greatest champions. Drawing on a range of contemporary publications, he adopted images and responded to ideas. Indeed, Malraux’s book on the floor is a variation of photographer André Vigneau’s spectacular Encyclopédie photographique de l’art, published in five volumes from 1935 on—years before Malraux would enter this field. Both authors were engaged in juxtaposing artworks via photographs and publishing these photographs by the hundreds, but Malraux was the better sloganeer. Starting from a close examination of the photograph of Malraux in his salon, art historian Walter Grasskamp takes the reader back to the dawn of this genre of illustrated art book. He shows how it catalyzed the practice of comparing works of art on a global scale. He retraces the metaphor to earlier reproduction practices and highlights its ubiquity in contemporary art, ending with an homage to the other pioneer of the “museum without walls,” the unjustly forgotten Vigneau.
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livres
livres
Publication:
janvier 2017
janvier 2017
Sujet:
Théorie de la photographie
Théorie de la photographie
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livres
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$26.95
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Following Greenhouse Studies, Philippe Weisbecker's attention was drawn to other architectural structures, the ones visible on the outer walls of early 20th century industrial buildings. They are made of steel or concrete beams assembled together and holding an apparatus of bricks and mortar. Even though these structures may appear very similar for their overall shape,(...)
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Following Greenhouse Studies, Philippe Weisbecker's attention was drawn to other architectural structures, the ones visible on the outer walls of early 20th century industrial buildings. They are made of steel or concrete beams assembled together and holding an apparatus of bricks and mortar. Even though these structures may appear very similar for their overall shape,(...)
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Philippe Weisbecker: Structure series
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Following Greenhouse Studies, Philippe Weisbecker's attention was drawn to other architectural structures, the ones visible on the outer walls of early 20th century industrial buildings. They are made of steel or concrete beams assembled together and holding an apparatus of bricks and mortar. Even though these structures may appear very similar for their overall shape, they differ greatly in order to ensure the weight distribution necessary to the stability of the edifice. The present portfolio is a sampler of some various structural beam combinations. It can be viewed as a book, spread by spread, or pinned on the wall, according to taste, the way a kid might stack up building blocks. Born in 1942, Weisbecker studied interior design in Paris. By 1968 he moved to New York. First working as a draftsman in an architectural firm, he started a career as an illustrator at the age of 30. His work has been published in major american publications such as the New York Times, Time magazine and The New Yorker among others. In the late 90's he shifted gradually from commissioned work to his own original production which he is now showing in galeries worldwide. Moving back to France in 2006, he is now sharing his time between Paris and Barcelona.
Philippe Weisbecker: Structure series
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$26.95
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Résumé:
Following Greenhouse Studies, Philippe Weisbecker's attention was drawn to other architectural structures, the ones visible on the outer walls of early 20th century industrial buildings. They are made of steel or concrete beams assembled together and holding an apparatus of bricks and mortar. Even though these structures may appear very similar for their overall shape, they differ greatly in order to ensure the weight distribution necessary to the stability of the edifice. The present portfolio is a sampler of some various structural beam combinations. It can be viewed as a book, spread by spread, or pinned on the wall, according to taste, the way a kid might stack up building blocks. Born in 1942, Weisbecker studied interior design in Paris. By 1968 he moved to New York. First working as a draftsman in an architectural firm, he started a career as an illustrator at the age of 30. His work has been published in major american publications such as the New York Times, Time magazine and The New Yorker among others. In the late 90's he shifted gradually from commissioned work to his own original production which he is now showing in galeries worldwide. Moving back to France in 2006, he is now sharing his time between Paris and Barcelona.
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livres
livres
Publication:
août 2015
août 2015
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livres
livres
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$68.00
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Now anybody can raid Chloe Sevigny's wardrobe! Re-inventing the looks of 1989 for 2008, Sevigny has designed her first collection for the discerning New York/Los Angeles boutique Opening Ceremony. It's a concise and carefully assembled collection, comprised of 40 pieces, and this volume presents each of them as photographed by Mark Borthwick, who first shot Sevigny for(...)
$68.00
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Now anybody can raid Chloe Sevigny's wardrobe! Re-inventing the looks of 1989 for 2008, Sevigny has designed her first collection for the discerning New York/Los Angeles boutique Opening Ceremony. It's a concise and carefully assembled collection, comprised of 40 pieces, and this volume presents each of them as photographed by Mark Borthwick, who first shot Sevigny for(...)
Titre:
Chloe Sevigny for opening ceremony
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Now anybody can raid Chloe Sevigny's wardrobe! Re-inventing the looks of 1989 for 2008, Sevigny has designed her first collection for the discerning New York/Los Angeles boutique Opening Ceremony. It's a concise and carefully assembled collection, comprised of 40 pieces, and this volume presents each of them as photographed by Mark Borthwick, who first shot Sevigny for Purple magazine 10 years ago. The collection was inspired by the teen fashions of the late 80s and early 90s in Connecticut and New York, where Sevigny grew up, and further inflected by the looks of "women who are outrageous yet effortless--Liz Goldwyn, Cecilia Dean, Angelica Houston, Marlene Dietrich, Debbie Harry, Poison Ivy, Slim Keith, Patti Smith." In Sevigny's vision, calico and Liberty prints might be matched with gingham check trousers--each piece evokes a look but can be combined to many ends. In this mix-and-match volume, in which each page is split into two separately flippable sections, Sevigny models each ensemble with a minimum of fuss, allowing the clothes to speak for themselves. Borthwick's ethereal photographs are complemented with drawings by Marika Thunder, Rita Ackerman, Lizzie Bougatsos, Benjamin Cho, Dan Colen, Matt Damhave, Amy Gartrel, Lily Ludlow and Spencer Sweeney.
Chloe Sevigny for opening ceremony
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Now anybody can raid Chloe Sevigny's wardrobe! Re-inventing the looks of 1989 for 2008, Sevigny has designed her first collection for the discerning New York/Los Angeles boutique Opening Ceremony. It's a concise and carefully assembled collection, comprised of 40 pieces, and this volume presents each of them as photographed by Mark Borthwick, who first shot Sevigny for Purple magazine 10 years ago. The collection was inspired by the teen fashions of the late 80s and early 90s in Connecticut and New York, where Sevigny grew up, and further inflected by the looks of "women who are outrageous yet effortless--Liz Goldwyn, Cecilia Dean, Angelica Houston, Marlene Dietrich, Debbie Harry, Poison Ivy, Slim Keith, Patti Smith." In Sevigny's vision, calico and Liberty prints might be matched with gingham check trousers--each piece evokes a look but can be combined to many ends. In this mix-and-match volume, in which each page is split into two separately flippable sections, Sevigny models each ensemble with a minimum of fuss, allowing the clothes to speak for themselves. Borthwick's ethereal photographs are complemented with drawings by Marika Thunder, Rita Ackerman, Lizzie Bougatsos, Benjamin Cho, Dan Colen, Matt Damhave, Amy Gartrel, Lily Ludlow and Spencer Sweeney.
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livres
livres
Publication:
juillet 2008
juillet 2008
Sujet:
Création de mode
Création de mode
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livres
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Complete Writings 1959–1975 was first published in 1975 by The Press of the Nova Scotia College of Art and Design, and since then it has been the primary source for Donald Judd’s early writing. Working as an art critic for the magazines Arts, Arts Magazine and, later, Art International, Judd regularly contributed reviews of contemporary art exhibitions between 1959 and(...)
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Complete Writings 1959–1975 was first published in 1975 by The Press of the Nova Scotia College of Art and Design, and since then it has been the primary source for Donald Judd’s early writing. Working as an art critic for the magazines Arts, Arts Magazine and, later, Art International, Judd regularly contributed reviews of contemporary art exhibitions between 1959 and(...)
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Donald Judd: Complete writings 1959-1975
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Complete Writings 1959–1975 was first published in 1975 by The Press of the Nova Scotia College of Art and Design, and since then it has been the primary source for Donald Judd’s early writing. Working as an art critic for the magazines Arts, Arts Magazine and, later, Art International, Judd regularly contributed reviews of contemporary art exhibitions between 1959 and 1965, but continued to write throughout his life on a broad range of subjects. In his reviews and essays, Judd discussed in detail the work of more than 500 artists showing in New York in the early and mid-1960s, and provided a critical account of this significant era of art in America. While addressing the social and political ramifications of art production, the writings frequently addressed the work of such artists as Jackson Pollock, Kazimir Malevich, Barnett Newman, Ad Reinhardt, Lee Bontecou, Yayoi Kusama, John Chamberlain, Dan Flavin, Kenneth Noland and Claes Oldenburg. Judd’s essay "Specific Objects," first published in 1965, remains central to the analysis of the new art developed in the early 1960s. Other essays included in this publication are "Complaints I" (1969), "Complaints II" (1973) and his previously unpublished essay "Imperialism, Nationalism and Regionalism" (1975), all of which establish the polemical importance of Judd’s writing.
Donald Judd: Complete writings 1959-1975
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Complete Writings 1959–1975 was first published in 1975 by The Press of the Nova Scotia College of Art and Design, and since then it has been the primary source for Donald Judd’s early writing. Working as an art critic for the magazines Arts, Arts Magazine and, later, Art International, Judd regularly contributed reviews of contemporary art exhibitions between 1959 and 1965, but continued to write throughout his life on a broad range of subjects. In his reviews and essays, Judd discussed in detail the work of more than 500 artists showing in New York in the early and mid-1960s, and provided a critical account of this significant era of art in America. While addressing the social and political ramifications of art production, the writings frequently addressed the work of such artists as Jackson Pollock, Kazimir Malevich, Barnett Newman, Ad Reinhardt, Lee Bontecou, Yayoi Kusama, John Chamberlain, Dan Flavin, Kenneth Noland and Claes Oldenburg. Judd’s essay "Specific Objects," first published in 1965, remains central to the analysis of the new art developed in the early 1960s. Other essays included in this publication are "Complaints I" (1969), "Complaints II" (1973) and his previously unpublished essay "Imperialism, Nationalism and Regionalism" (1975), all of which establish the polemical importance of Judd’s writing.
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livres
livres
Publication:
février 2016
février 2016
Classification:
livres
livres
Titre:
William Mullan: Odd apples
William Mullan: Odd apples
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William Mullan’s obsession with apples began when he saw his first Egremont Russet at a Waitrose grocery store outside of London. Fascinated by its gnarled, potato-like appearance and shockingly fresh, nutty flavor, Mullan began searching for, and photographing, rare apple varieties. In ''Odd apples,'' each apple is lovingly rendered and styled according to its individual(...)
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William Mullan’s obsession with apples began when he saw his first Egremont Russet at a Waitrose grocery store outside of London. Fascinated by its gnarled, potato-like appearance and shockingly fresh, nutty flavor, Mullan began searching for, and photographing, rare apple varieties. In ''Odd apples,'' each apple is lovingly rendered and styled according to its individual(...)
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William Mullan: Odd apples
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William Mullan’s obsession with apples began when he saw his first Egremont Russet at a Waitrose grocery store outside of London. Fascinated by its gnarled, potato-like appearance and shockingly fresh, nutty flavor, Mullan began searching for, and photographing, rare apple varieties. In ''Odd apples,'' each apple is lovingly rendered and styled according to its individual ''personality''—a combination of its looks and its flavors. The apples are set against complementary brightly colored backdrops; they are peeled or unpeeled, cut or whole, skin shriveled or perfectly smooth and shiny. It is precisely this odd charm combined with the hitherto unknown that makes these photographs fascinating studies of a supposedly commonplace fruit. Mullan embraces its idiosyncratic aesthetic qualities completely, and invites us, in this attractive gift book, to embark on a visual expedition into the world of the apple. By day, William Mullan (born 1989) works at an artisanal chocolate factory in Brooklyn, and by night, he photographs fruit. British-born, New York–based Mullan came to photography as an autodidact and his talent was quickly recognized. His ''Odd Apple'' project developed into an influential and much talked-about series, reviewed by the New Yorker, the New York Times and i-D Magazine, and released as a sold-out run of prints on his website.
William Mullan: Odd apples
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William Mullan’s obsession with apples began when he saw his first Egremont Russet at a Waitrose grocery store outside of London. Fascinated by its gnarled, potato-like appearance and shockingly fresh, nutty flavor, Mullan began searching for, and photographing, rare apple varieties. In ''Odd apples,'' each apple is lovingly rendered and styled according to its individual ''personality''—a combination of its looks and its flavors. The apples are set against complementary brightly colored backdrops; they are peeled or unpeeled, cut or whole, skin shriveled or perfectly smooth and shiny. It is precisely this odd charm combined with the hitherto unknown that makes these photographs fascinating studies of a supposedly commonplace fruit. Mullan embraces its idiosyncratic aesthetic qualities completely, and invites us, in this attractive gift book, to embark on a visual expedition into the world of the apple. By day, William Mullan (born 1989) works at an artisanal chocolate factory in Brooklyn, and by night, he photographs fruit. British-born, New York–based Mullan came to photography as an autodidact and his talent was quickly recognized. His ''Odd Apple'' project developed into an influential and much talked-about series, reviewed by the New Yorker, the New York Times and i-D Magazine, and released as a sold-out run of prints on his website.
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livres
livres
Publication:
octobre 2021
octobre 2021
Sujet:
Monographies photo
Monographies photo
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livres
livres
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$95.00
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“I have been shooting New York for over 60 years now. And though I have achieved age, I can safely say I have never made my way to maturity so I have never been jaded or bored. I think all this is due to the grittiness and hectic quality of the city, you never capture it, it captures you.” After studying painting and graphic design at Cooper Union and Yale, Jay Maisel(...)
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“I have been shooting New York for over 60 years now. And though I have achieved age, I can safely say I have never made my way to maturity so I have never been jaded or bored. I think all this is due to the grittiness and hectic quality of the city, you never capture it, it captures you.” After studying painting and graphic design at Cooper Union and Yale, Jay Maisel(...)
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Jay Maisel: New York in the 50s
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“I have been shooting New York for over 60 years now. And though I have achieved age, I can safely say I have never made my way to maturity so I have never been jaded or bored. I think all this is due to the grittiness and hectic quality of the city, you never capture it, it captures you.” After studying painting and graphic design at Cooper Union and Yale, Jay Maisel began his career in photography in 1954. While his portfolio includes the likes of Marilyn Monroe and Miles Davis, he is perhaps best known for capturing the light, color, and gesture found in every day life. This unique vision kept him busy for over 40 years shooting annual reports, magazine covers, jazz albums, advertising and more for an array of clients worldwide. Recently, Maisel has gone back to his archive of early work, and put together a collection of black-and-white images he made as a young man in the 1950s, evidence of a lifetime’s pursuit of a craft and a special talent, one of the best-kept secrets in photographic history. “New York in the ‘50s” is a beautifully-produced monograph that will be equally appreciated by Jay Maisel’s followers, and anyone who has stepped inside his muse, New York City.
Jay Maisel: New York in the 50s
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“I have been shooting New York for over 60 years now. And though I have achieved age, I can safely say I have never made my way to maturity so I have never been jaded or bored. I think all this is due to the grittiness and hectic quality of the city, you never capture it, it captures you.” After studying painting and graphic design at Cooper Union and Yale, Jay Maisel began his career in photography in 1954. While his portfolio includes the likes of Marilyn Monroe and Miles Davis, he is perhaps best known for capturing the light, color, and gesture found in every day life. This unique vision kept him busy for over 40 years shooting annual reports, magazine covers, jazz albums, advertising and more for an array of clients worldwide. Recently, Maisel has gone back to his archive of early work, and put together a collection of black-and-white images he made as a young man in the 1950s, evidence of a lifetime’s pursuit of a craft and a special talent, one of the best-kept secrets in photographic history. “New York in the ‘50s” is a beautifully-produced monograph that will be equally appreciated by Jay Maisel’s followers, and anyone who has stepped inside his muse, New York City.
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livres
livres
Publication:
avril 2014
avril 2014
Sujet:
Monographies photo
Monographies photo
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livres
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Description:
199 pages : illustrations ; 17 cm
Description:
199 pages : illustrations ; 17 cm
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Zurich : JRP/Ringier, [2017], ©2017
Zurich : JRP/Ringier, [2017], ©2017
Titre:
Somewhere totally else : columns, 2012-2017 / Hans Ulrich Obrist ; drawings by David Shrigley ; edited by Finn Canonica and Clément Dirié.
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Description:
199 pages : illustrations ; 17 cm
Somewhere totally else : columns, 2012-2017 / Hans Ulrich Obrist ; drawings by David Shrigley ; edited by Finn Canonica and Clément Dirié.
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Description:
199 pages : illustrations ; 17 cm
Classification:
livres
livres
Publication:
Zurich : JRP/Ringier, [2017], ©2017
Zurich : JRP/Ringier, [2017], ©2017
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livres
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1 online resource
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London : Repeater, 2018.
London : Repeater, 2018.
Titre:
K-punk : the collected and unpublished writings of Mark Fisher (2004-2016) / edited by Darren Ambrose ; foreword by Simon Reynolds.
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1 online resource
K-punk : the collected and unpublished writings of Mark Fisher (2004-2016) / edited by Darren Ambrose ; foreword by Simon Reynolds.
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1 online resource
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livres
livres
Publication:
London : Repeater, 2018.
London : Repeater, 2018.
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Classification:
périodiques
périodiques
Titre:
Obsidian.
Obsidian.
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1 online resource (volumes) : illustrations
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Raleigh, NC : Dept. of English, North Carolina State University, 2006-, Normal, IL : Publications Unit, Department of English, Illinois State University
Raleigh, NC : Dept. of English, North Carolina State University, 2006-, Normal, IL : Publications Unit, Department of English, Illinois State University
Classification:
périodiques
périodiques
Publication:
Raleigh, NC : Dept. of English, North Carolina State University, 2006-, Normal, IL : Publications Unit, Department of English, Illinois State University
Raleigh, NC : Dept. of English, North Carolina State University, 2006-, Normal, IL : Publications Unit, Department of English, Illinois State University
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