1983 Résultats
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For five years Linda Herzog photographed her Swiss hometown of Zurich, the once industrial city of Birmingham, England, and the Turkish metropolis of Istanbul. These 52 color images, shown record cultural differences and commonalities, and raise provocative questions about the new Europe.
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For five years Linda Herzog photographed her Swiss hometown of Zurich, the once industrial city of Birmingham, England, and the Turkish metropolis of Istanbul. These 52 color images, shown record cultural differences and commonalities, and raise provocative questions about the new Europe.
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Monographies photo
Monographies photo
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septembre 2005, Köln / Zürich
septembre 2005, Köln / Zürich
Titre:
Linda Herzog : Birmingham, Istanbul, Zürich
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For five years Linda Herzog photographed her Swiss hometown of Zurich, the once industrial city of Birmingham, England, and the Turkish metropolis of Istanbul. These 52 color images, shown record cultural differences and commonalities, and raise provocative questions about the new Europe.
Linda Herzog : Birmingham, Istanbul, Zürich
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For five years Linda Herzog photographed her Swiss hometown of Zurich, the once industrial city of Birmingham, England, and the Turkish metropolis of Istanbul. These 52 color images, shown record cultural differences and commonalities, and raise provocative questions about the new Europe.
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septembre 2005, Köln / Zürich
septembre 2005, Köln / Zürich
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Monographies photo
Monographies photo
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Gabriele Basilico
Gabriele Basilico
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An introduction to the work of Gabriele Basilico (b.1944), one of the most important European landscape photographers of our time. His work captures the city in its quiet, empty moments, almost as if some disaster had driven away the population – the buildings remain lasting testaments to the society that created them. Basilico has extensively chronicled the lesser-known(...)
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An introduction to the work of Gabriele Basilico (b.1944), one of the most important European landscape photographers of our time. His work captures the city in its quiet, empty moments, almost as if some disaster had driven away the population – the buildings remain lasting testaments to the society that created them. Basilico has extensively chronicled the lesser-known(...)
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Gabriele Basilico
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An introduction to the work of Gabriele Basilico (b.1944), one of the most important European landscape photographers of our time. His work captures the city in its quiet, empty moments, almost as if some disaster had driven away the population – the buildings remain lasting testaments to the society that created them. Basilico has extensively chronicled the lesser-known parts of his own native country as well as travelling widely throughout Northern Europe, bringing his Italian sensibility and melding it with the peculiarities of the Northern landscape.
Gabriele Basilico
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An introduction to the work of Gabriele Basilico (b.1944), one of the most important European landscape photographers of our time. His work captures the city in its quiet, empty moments, almost as if some disaster had driven away the population – the buildings remain lasting testaments to the society that created them. Basilico has extensively chronicled the lesser-known parts of his own native country as well as travelling widely throughout Northern Europe, bringing his Italian sensibility and melding it with the peculiarities of the Northern landscape.
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octobre 2005, London
octobre 2005, London
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Monographies photo
Monographies photo
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Thomas Struth, recently celebrated by a major travelling exhibition in the US, had his breakthrough in the early 90s with his series 'Museum photographs.' Since then, Struth has expanded this series that is presented in its entirety in this volume, along with pictures he took of European master paintings at their sites across the world.
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Thomas Struth, recently celebrated by a major travelling exhibition in the US, had his breakthrough in the early 90s with his series 'Museum photographs.' Since then, Struth has expanded this series that is presented in its entirety in this volume, along with pictures he took of European master paintings at their sites across the world.
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Monographies photo
Monographies photo
Publication:
janvier 1900, Munich
janvier 1900, Munich
Titre:
Thomas Struth : museum photographs
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Thomas Struth, recently celebrated by a major travelling exhibition in the US, had his breakthrough in the early 90s with his series 'Museum photographs.' Since then, Struth has expanded this series that is presented in its entirety in this volume, along with pictures he took of European master paintings at their sites across the world.
Thomas Struth : museum photographs
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Thomas Struth, recently celebrated by a major travelling exhibition in the US, had his breakthrough in the early 90s with his series 'Museum photographs.' Since then, Struth has expanded this series that is presented in its entirety in this volume, along with pictures he took of European master paintings at their sites across the world.
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Publication:
janvier 1900, Munich
janvier 1900, Munich
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Monographies photo
Monographies photo
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Titre:
Dieter Appelt
Dieter Appelt
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Monographie consacrée au photographe berlinois Dieter Appelt.
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Monographie consacrée au photographe berlinois Dieter Appelt.
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Dieter Appelt
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Monographie consacrée au photographe berlinois Dieter Appelt.
Dieter Appelt
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Monographie consacrée au photographe berlinois Dieter Appelt.
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octobre 2005, Arles
octobre 2005, Arles
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Monographies photo
Monographies photo
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"Private Places" offers an intimate glimpse into the personal gardens of Chicago residents, exploring how they carved out these quiet spaces of flora and greenery in the cityscape of concrete and brick. Temkin's camera lens captures the lushness and vibrancy of these backyard gardens, roving over the diverse natural and artificial elements contained in each. His images(...)
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"Private Places" offers an intimate glimpse into the personal gardens of Chicago residents, exploring how they carved out these quiet spaces of flora and greenery in the cityscape of concrete and brick. Temkin's camera lens captures the lushness and vibrancy of these backyard gardens, roving over the diverse natural and artificial elements contained in each. His images(...)
Titre:
Private places : photographs of Chicago gardens
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"Private Places" offers an intimate glimpse into the personal gardens of Chicago residents, exploring how they carved out these quiet spaces of flora and greenery in the cityscape of concrete and brick. Temkin's camera lens captures the lushness and vibrancy of these backyard gardens, roving over the diverse natural and artificial elements contained in each. His images chronicle how gardens are safe havens for these city dwellers, places where they can read, meditate, relax, and enjoy the experience of working with the soil and its fruits. Temkin notes, "The small gardens have bits and pieces of the person who owns them; found objects that are dear to them, keepsakes, statues, and personal items that reveal the person behind it."
Private places : photographs of Chicago gardens
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"Private Places" offers an intimate glimpse into the personal gardens of Chicago residents, exploring how they carved out these quiet spaces of flora and greenery in the cityscape of concrete and brick. Temkin's camera lens captures the lushness and vibrancy of these backyard gardens, roving over the diverse natural and artificial elements contained in each. His images chronicle how gardens are safe havens for these city dwellers, places where they can read, meditate, relax, and enjoy the experience of working with the soil and its fruits. Temkin notes, "The small gardens have bits and pieces of the person who owns them; found objects that are dear to them, keepsakes, statues, and personal items that reveal the person behind it."
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août 2005, Santa Fe, Chicago
août 2005, Santa Fe, Chicago
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Monographies photo
Monographies photo
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"Jeff Wall" is published to accompany a major exhibition of photographs at Tate Modern. The exhibition, developed in close consultation with the artist, features works from throughout his career, together with new work produced especially for the exhibition. Wall (b. 1946) has been making photographs since 1967. He has helped to give photography a prominent place in(...)
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"Jeff Wall" is published to accompany a major exhibition of photographs at Tate Modern. The exhibition, developed in close consultation with the artist, features works from throughout his career, together with new work produced especially for the exhibition. Wall (b. 1946) has been making photographs since 1967. He has helped to give photography a prominent place in(...)
Titre:
Jeff Wall : photographs, 1978-2004
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"Jeff Wall" is published to accompany a major exhibition of photographs at Tate Modern. The exhibition, developed in close consultation with the artist, features works from throughout his career, together with new work produced especially for the exhibition. Wall (b. 1946) has been making photographs since 1967. He has helped to give photography a prominent place in contemporary art as well as effecting one of the most radical new developments in the field. His highly innovative approach, best known through large color transparencies of carefully constructed scenes mounted in wall-hung light boxes, has been complemented for the past 10 years by large black-and-white photographs on paper. This book illustrates many of these important works, including "Picture for Women", "The Storyteller", and "After the Invisible Man", and explores the impact of the history of art and cinema on Wall's practice, revealing how he meshes documentary techniques with staged settings and digital collage.
Jeff Wall : photographs, 1978-2004
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"Jeff Wall" is published to accompany a major exhibition of photographs at Tate Modern. The exhibition, developed in close consultation with the artist, features works from throughout his career, together with new work produced especially for the exhibition. Wall (b. 1946) has been making photographs since 1967. He has helped to give photography a prominent place in contemporary art as well as effecting one of the most radical new developments in the field. His highly innovative approach, best known through large color transparencies of carefully constructed scenes mounted in wall-hung light boxes, has been complemented for the past 10 years by large black-and-white photographs on paper. This book illustrates many of these important works, including "Picture for Women", "The Storyteller", and "After the Invisible Man", and explores the impact of the history of art and cinema on Wall's practice, revealing how he meshes documentary techniques with staged settings and digital collage.
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Publication:
janvier 1900, London
janvier 1900, London
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Monographies photo
Monographies photo
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$78.00
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The photograph Joel Sternfeld has selected sixty representative historic or present American co-housing "utopias" or communities. A photograph of each is accompanied by a brief text that summarizes the most salient aspects of the history or organization of the community. Neither a conventional history nor a conventional book of photography, "Sweet earth" brings together(...)
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The photograph Joel Sternfeld has selected sixty representative historic or present American co-housing "utopias" or communities. A photograph of each is accompanied by a brief text that summarizes the most salient aspects of the history or organization of the community. Neither a conventional history nor a conventional book of photography, "Sweet earth" brings together(...)
Titre:
Joel Sternfeld : sweet earth - experimental utopias in America
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The photograph Joel Sternfeld has selected sixty representative historic or present American co-housing "utopias" or communities. A photograph of each is accompanied by a brief text that summarizes the most salient aspects of the history or organization of the community. Neither a conventional history nor a conventional book of photography, "Sweet earth" brings together what might otherwise seem disparate, individualized social phenomena and makes visible the community of communities.
Joel Sternfeld : sweet earth - experimental utopias in America
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The photograph Joel Sternfeld has selected sixty representative historic or present American co-housing "utopias" or communities. A photograph of each is accompanied by a brief text that summarizes the most salient aspects of the history or organization of the community. Neither a conventional history nor a conventional book of photography, "Sweet earth" brings together what might otherwise seem disparate, individualized social phenomena and makes visible the community of communities.
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Publication:
octobre 2005, Göttingen
octobre 2005, Göttingen
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Monographies photo
Monographies photo
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In "An American lens", Jay Bochner looks at a series of milestones in the development of the American avant-garde that capture a pivotal period in artistic consciousness. He focuses on the multiple roles of Alfred Stieglitz-as influential gallery owner, photographer, and impresario of the emerging art scene-at a series of significant moments in his career. These close-ups(...)
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In "An American lens", Jay Bochner looks at a series of milestones in the development of the American avant-garde that capture a pivotal period in artistic consciousness. He focuses on the multiple roles of Alfred Stieglitz-as influential gallery owner, photographer, and impresario of the emerging art scene-at a series of significant moments in his career. These close-ups(...)
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An American lens : scenes from Alfred Stieglitz's New York Secession
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In "An American lens", Jay Bochner looks at a series of milestones in the development of the American avant-garde that capture a pivotal period in artistic consciousness. He focuses on the multiple roles of Alfred Stieglitz-as influential gallery owner, photographer, and impresario of the emerging art scene-at a series of significant moments in his career. These close-ups offer a more intense and expanded understanding of the subject than the familiar long view. Bochner uses these scenes to recreate for today's readers the birth of modernism in America-what it was like to be an audience for the art of the early avant-garde. Moving from frame to frame, he shows us, for example, a single photograph by Stieglitz of a snowy night in 1893 and a short description by Stephen Crane of just such a snowfall; the preparation, the reception, and the aftermath of the famous Armory Show of modern art in 1913; Gertrude Stein's portraits in prose; New York at the dawn of Dada, with Paul Strand, Francis Picabia, and others; and the intersecting paths of Mina Loy, William Carlos Williams, and Marcel Duchamp in 1917. Bochner also examines Stieglitz's three great photographic series: his photographs of Georgia O'Keeffe, of clouds, and of skyscrapers. These sections of the book include many Stieglitz photos, including some rarely seen portraits of O'Keeffe. Stieglitz as impresario and artist achieved an almost mythical status, which some recent critics have worked to deflate-casting him, for example, as Svengali to Georgia O'Keeffe's spellbound Trilby. Engaging in neither idolatry nor demolition, Bochner looks instead for the truth about the man and the myth. The scenes from American art in "An American lens" create a new version of Stieglitz's biography, allowing us to reread his life and the life of his times by focusing intently on what is visible and not so visible in the art he left behind.
An American lens : scenes from Alfred Stieglitz's New York Secession
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In "An American lens", Jay Bochner looks at a series of milestones in the development of the American avant-garde that capture a pivotal period in artistic consciousness. He focuses on the multiple roles of Alfred Stieglitz-as influential gallery owner, photographer, and impresario of the emerging art scene-at a series of significant moments in his career. These close-ups offer a more intense and expanded understanding of the subject than the familiar long view. Bochner uses these scenes to recreate for today's readers the birth of modernism in America-what it was like to be an audience for the art of the early avant-garde. Moving from frame to frame, he shows us, for example, a single photograph by Stieglitz of a snowy night in 1893 and a short description by Stephen Crane of just such a snowfall; the preparation, the reception, and the aftermath of the famous Armory Show of modern art in 1913; Gertrude Stein's portraits in prose; New York at the dawn of Dada, with Paul Strand, Francis Picabia, and others; and the intersecting paths of Mina Loy, William Carlos Williams, and Marcel Duchamp in 1917. Bochner also examines Stieglitz's three great photographic series: his photographs of Georgia O'Keeffe, of clouds, and of skyscrapers. These sections of the book include many Stieglitz photos, including some rarely seen portraits of O'Keeffe. Stieglitz as impresario and artist achieved an almost mythical status, which some recent critics have worked to deflate-casting him, for example, as Svengali to Georgia O'Keeffe's spellbound Trilby. Engaging in neither idolatry nor demolition, Bochner looks instead for the truth about the man and the myth. The scenes from American art in "An American lens" create a new version of Stieglitz's biography, allowing us to reread his life and the life of his times by focusing intently on what is visible and not so visible in the art he left behind.
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Publication:
octobre 2005, Cambridge, London
octobre 2005, Cambridge, London
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Monographies photo
Monographies photo
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Trees capture our imagination because they are rooted solidly in the earth but point ethereally toward the sky. They occupy a dimension that has as much to do with time and patience as with place and landscape. They are vertical beings to whom we attribute qualities both divine and human. Since 1991, photographer Barbara Bosworth has been on a quest to photograph(...)
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Trees capture our imagination because they are rooted solidly in the earth but point ethereally toward the sky. They occupy a dimension that has as much to do with time and patience as with place and landscape. They are vertical beings to whom we attribute qualities both divine and human. Since 1991, photographer Barbara Bosworth has been on a quest to photograph(...)
Sujet:
Monographies photo
Monographies photo
Publication:
septembre 2005, Cambridge
septembre 2005, Cambridge
Titre:
Trees : national champions / photographs by Barbara Bosworth
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Trees capture our imagination because they are rooted solidly in the earth but point ethereally toward the sky. They occupy a dimension that has as much to do with time and patience as with place and landscape. They are vertical beings to whom we attribute qualities both divine and human. Since 1991, photographer Barbara Bosworth has been on a quest to photograph America's "champion" trees - trees that are the biggest of their species, as recorded in the National Register of Big Trees, a list established and maintained by the nonprofit conservation organization American Forests. She has traveled down highways and up back roads, walked through forests and across clear-cut land, sometimes led by local tree enthusiasts, sometimes alone, to photograph trees that are remarkable not only for their size but for their endurance. Bosworth finds champion trees in backyards, fields, and forests, near roadways, power lines, and sidewalks. Her photographs document the trees' magnificence but also show how they are markers of a changing landscape. The yellow poplar, for example, stands on the fringes of a suburban housing development, in the center of a park for the enjoyment and relaxation of residents. The western red cedar stands alone in the middle of a clear-cut, saved from logging only because it is recorded in the Register as the biggest of its kind. The trees and their surroundings tell us about our relationship with nature and the land. Bosworth captures the ineffable grace and dignity of trees with clarity and directness: the green ash that shades a midwestern crossroads, the common pear that blooms in a Washington field, and the Florida strangler fig with its mass of entwining aerial roots. Her photographs, panoramic views taken with an 8 x 10 camera, show the immensity of the largest species and the hidden triumphs of the smallest. Some trees are dethroned each year because of sickness or destruction, but more often simpy because a new and bigger specimen is discovered; only three trees from the original Register in 1940 are still living today. Bosworth's 70 photographs of champion trees are not only a collection of tree portraits but the story of an American adventure as well. With a foreword by Roger Conover and essays by Douglas R. Nickel and John R. Stilgoe.
Trees : national champions / photographs by Barbara Bosworth
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Trees capture our imagination because they are rooted solidly in the earth but point ethereally toward the sky. They occupy a dimension that has as much to do with time and patience as with place and landscape. They are vertical beings to whom we attribute qualities both divine and human. Since 1991, photographer Barbara Bosworth has been on a quest to photograph America's "champion" trees - trees that are the biggest of their species, as recorded in the National Register of Big Trees, a list established and maintained by the nonprofit conservation organization American Forests. She has traveled down highways and up back roads, walked through forests and across clear-cut land, sometimes led by local tree enthusiasts, sometimes alone, to photograph trees that are remarkable not only for their size but for their endurance. Bosworth finds champion trees in backyards, fields, and forests, near roadways, power lines, and sidewalks. Her photographs document the trees' magnificence but also show how they are markers of a changing landscape. The yellow poplar, for example, stands on the fringes of a suburban housing development, in the center of a park for the enjoyment and relaxation of residents. The western red cedar stands alone in the middle of a clear-cut, saved from logging only because it is recorded in the Register as the biggest of its kind. The trees and their surroundings tell us about our relationship with nature and the land. Bosworth captures the ineffable grace and dignity of trees with clarity and directness: the green ash that shades a midwestern crossroads, the common pear that blooms in a Washington field, and the Florida strangler fig with its mass of entwining aerial roots. Her photographs, panoramic views taken with an 8 x 10 camera, show the immensity of the largest species and the hidden triumphs of the smallest. Some trees are dethroned each year because of sickness or destruction, but more often simpy because a new and bigger specimen is discovered; only three trees from the original Register in 1940 are still living today. Bosworth's 70 photographs of champion trees are not only a collection of tree portraits but the story of an American adventure as well. With a foreword by Roger Conover and essays by Douglas R. Nickel and John R. Stilgoe.
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livres
Publication:
septembre 2005, Cambridge
septembre 2005, Cambridge
Sujet:
Monographies photo
Monographies photo
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livres
Titre:
Atget le pionnier
Atget le pionnier
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Eugène Atget est né en 1857, à Libourne, non loin de Bordeaux. Il meurt soixante-dix ans plus tard, à Paris, en 1927, laissant derrière lui une somme de travail incomparable. En 1888, après ses insuccès au théâtre et dans la peinture, il se choisit artisan photographe. Il fait des "documents pour artistes", puis à partir de 1897 et jusqu'à sa mort, il va fixer les(...)
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Eugène Atget est né en 1857, à Libourne, non loin de Bordeaux. Il meurt soixante-dix ans plus tard, à Paris, en 1927, laissant derrière lui une somme de travail incomparable. En 1888, après ses insuccès au théâtre et dans la peinture, il se choisit artisan photographe. Il fait des "documents pour artistes", puis à partir de 1897 et jusqu'à sa mort, il va fixer les(...)
Sujet:
Monographies photo
Monographies photo
Publication:
septembre 2000, Paris
septembre 2000, Paris
Titre:
Atget le pionnier
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Eugène Atget est né en 1857, à Libourne, non loin de Bordeaux. Il meurt soixante-dix ans plus tard, à Paris, en 1927, laissant derrière lui une somme de travail incomparable. En 1888, après ses insuccès au théâtre et dans la peinture, il se choisit artisan photographe. Il fait des "documents pour artistes", puis à partir de 1897 et jusqu'à sa mort, il va fixer les empreintes de la capitale. Soit trente années de clichés. Trente ans de mutations, de transformations de la ville, du vieux Paris (celui d'avant la Révolution) à celui post-haussmanien : les rues étroites, les vieux édifices, les places, les ponts et les quais, les devantures de magasin, les cours intérieures, les cages d'escalier... Tout un travail sur la colonne vertébrale de Paris, auquel il ajoute des modèles en chair et en os : des artisans, des prostituées, des ouvriers, des camelots. Cet ouvrage superbe rend un hommage à ce pionnier que fut Atget, à la fois esthète et archéologue photographe, lécheur de vitrines et amateur de façades, arpenteur insatiable du pavé parisien. Un hommage ô combien nécessaire.
Atget le pionnier
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Eugène Atget est né en 1857, à Libourne, non loin de Bordeaux. Il meurt soixante-dix ans plus tard, à Paris, en 1927, laissant derrière lui une somme de travail incomparable. En 1888, après ses insuccès au théâtre et dans la peinture, il se choisit artisan photographe. Il fait des "documents pour artistes", puis à partir de 1897 et jusqu'à sa mort, il va fixer les empreintes de la capitale. Soit trente années de clichés. Trente ans de mutations, de transformations de la ville, du vieux Paris (celui d'avant la Révolution) à celui post-haussmanien : les rues étroites, les vieux édifices, les places, les ponts et les quais, les devantures de magasin, les cours intérieures, les cages d'escalier... Tout un travail sur la colonne vertébrale de Paris, auquel il ajoute des modèles en chair et en os : des artisans, des prostituées, des ouvriers, des camelots. Cet ouvrage superbe rend un hommage à ce pionnier que fut Atget, à la fois esthète et archéologue photographe, lécheur de vitrines et amateur de façades, arpenteur insatiable du pavé parisien. Un hommage ô combien nécessaire.
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livres
livres
Publication:
septembre 2000, Paris
septembre 2000, Paris
Sujet:
Monographies photo
Monographies photo
