A comprehensive volume on Swiss-American architect Albert Frey, whose "simple but severe" style of Desert Modernism cemented his legacy as one of the most influential architects worldwide.
Inventive Modernist tracks the scope and significance of Frey's career, from his early days in Paris working with Le Corbusier to his rise as the iconic architect of Palm Springs. With full access to Frey's various archives, the book provides many rare and previously unexhibited architectural models, drawings, films, photographs, and furniture, and offers an exceptional visual guide that goes far beyond the mere documentation of finished buildings. New academic research, in-depth essays, and a thorough, illustrated listing of the architect's projects between 1925 and 1997 serve to contextualize Frey's relevance today while securing his importance as a twentieth-century architectural master.
A pandemic logbook in words and images, with gorgeous Cape Cod panoramas and poetical meditations.
"Far from the vibrant urban worlds where I've often photographed, I followed the subtle movements of time and tide, wind and water. Meanwhile, Rebecca photographed the waves of light as they washed through our house of many windows--and wrote spare text pieces to try to emotionally navigate this unsettling time, when so many we know have been caught in its undertow." -Alex Webb, May 2021 Inspired by Virginia Woolf's novel The Waves, this collaborative project brings together the work of creative partners Alex Webb and Rebecca Norris Webb. This intimate collection serves as a pandemic logbook in words and images, created while the couple was largely sequestered on Cape Cod from March 2020 through May 2021. Rebecca provides original, handwritten poetry that punctuates her lyrical photographs and Alex's panoramic seascapes. Their images serve as poignant meditations on what it means to be both deeply connected to the world around us and profoundly isolated from much that we hold dear.
Alex Webb (born 1952) has published more than 15 photography books, including the survey The Suffering of Light. His most recent books include La Calle: Photographs from Mexico and the collaboration Brooklyn: The City Within, with Rebecca Norris Webb.
Originally a poet, Rebecca Norris Webb (born 1956) often interweaves her text and photographs in her nine books, most notably with her monograph, My Dakota. Her most recent book, Night Calls, was published by Radius Books in 2020.
Ruth Duckworth delivers an extensive, thoughtful monograph on the artist's entire body of work with new scholarship, exquisite reproductions, and the complete cooperation of the Duckworth Estate.
This book firmly establishes the artist in the pantheon of twentieth-century sculptors, in a class with Barbara Hepworth and Henry Moore. Duckworth referred to herself not as a potter or ceramicist, but as a sculptor with clay, and this volume takes her at her word, foregrounding her sculptural production. As Emmanuelle Cooper wrote in her obituary: "In both her life and work, Duckworth's background was one of non-conformity. In Germany, as a young girl, she risked prosecution by defacing a Nazi monument and resented being unable to attend art school because her father was Jewish. Most challenging of all was her determination to gain international respectability as a sculptor working primarily in clay.
Georgia O'Keeffe: Watercolors rassemble près de 50 aquarelles créées par O'Keeffe entre 1916 et 1918, alors qu'elle vivait à Canyon, au Texas. Ces années marquent une période d'innovation radicale pour l'artiste, au cours de laquelle elle établit fermement son engagement dans l'abstraction.
Contemporary artists and writers from Jennie C. Jones to Teju Cole consider Agnes Martin's influence and legacy.
This is a reenvisioned, fresh look at Agnes Martin, the enigmatic, influential, highly independent painter whose life and work have proved inspirational to audiences across many fields and disciplines. Accompanied by color reproductions of works by Martin, Agnes Martin: Independence of Mind presents a series of essays by living artists and writers commissioned especially for this volume. Contributors include artists Martha Tuttle, Jennie C. Jones and James Sterling Pitt, as well as authors Teju Cole, Bethany Hindmarsh, Darcey Steinke and Jenn Shapland. These contributors write about Martin's influence on their creative lives and work, and offer new interpretations that defy stereotyped notions about Martin's life. Longer essays are mixed with shorter, more anecdotal texts by a wider selection of artists.
Agnes Martin was born in Maklin, Saskatchewan, Canada, in 1912, and moved to the US in 1932, studying at universities in Oregon, California, New Mexico and New York. In the early 1950s she developed a biomorphic style influenced by Abstract Expressionism. Her first solo exhibition was held at the Betty Parsons Gallery, New York, in 1958. From around 1960-61 she began to work with the grids of horizontal and vertical lines for which she has become renowned. In 1967 she moved from New York to New Mexico, where she lived until her death in 2004.
A sumptuous, large-format photographic homage to the end of the analog era.
Since 2006, coinciding with his shift away from analog film to working exclusively with a digital camera, Richard Misrach has been exploring the aesthetic possibilities of the negative image. His latest body of work, debuted in this deluxe, oversize (16.75 by 13 inches), landscape-format volume, comprises dazzling, sublime photographs of landscapes and natural scenes--in negative, but using color with great dexterity and nuance.
Inspired by Ansel Adams' comparison of the photographic negative to a musical score, and John Cage's 1969 book, Notations, which compiles music scores as art, Misrach here envisages the photographic image as a score-like negative, teetering on abstraction, that invites a diversity of interpretations. The result is a series of immense beauty unlike any previous Misrach publication.
Richard Misrach (born 1949) is one of the most influential photographers working today. For the past five decades, he has used visually stunning, large-scale color vistas to address human intervention in the natural world. He lives and works in Berkeley, California.
Special insider access to the rebuilding process at Notre Dame after the 2019 fire, shot with a historic wet-plate collodion photographic process.
In Tomas van Houtryve: 36 Views of Notre Dame, the viewer accompanies the artist on his fourteen-year journey photographing the Paris icon before and after the fire. Van Houtryve obtained remarkable access to the cathedral to document the devastation of the fire and the reconstruction.
Drawing inspiration from Hokusai's series Thirty-six Views of Mount Fuji, the artist explores the monument in different contexts, seasons and using a wide range of photographic techniques--from 19th-century wet collodion to aerial drones. Accompanying the artist's works is a multilayered archive of the cathedral, including historic photographs, vernacular images and text by Victor Hugo.
Réédition pour cette série culte et étrange, augmentée ici de 8 images inédites : Kohei Yoshiyuki a utilisé un appareil photo 35 mm, un film infrarouge et un flash pour saisir les amants et les voyeurs, dans les parcs de Shinjuku, Yoyogi et Aoyama à Tokyo. Ses photos documentent les gens qui se sont rassemblés dans ces parcs la nuit pour des fêtes clandestines ou pour pratiquer l'échangisme, ainsi que les nombreux spectateurs qui se cachent dans les buissons pour regarder et parfois toucher ceux qu'ils approchent. Avec leur qualité brute, proche de celle des instantanés, ces images parlent du statut du regard, celui des voyeurs et par extension, celui du spectateur de cette série, mais révèle également un aspect inattendu et méconnu de la vie sexuelle japonaise.
Ice est une série d'impressions cyanotypes uniques réalisées dans des paysages glacials. Comme le précédent Littoral Drift + Ecotone de Meghann Riepenhoff, ce travail est réalisé en symbiose avec le paysage, où des éléments de l'eau et du rivage s'inscrivent physiquement dans le matériel photographique. Fabriquées dans des eaux allant de l'étang de Walden aux criques éloignées de l'ouest de Washington, les impressions témoignent de détails subtils, chacun exprimant une température légèrement différente, un type d'eau et une structure cristalline de glace se formant sur du papier photographique.
A photographic encyclopedia of Western female hairstyles across the ages.
In The Hunt, London-based French photographer Céline Bodin (born 1990) creates a concise survey of female hairstyles across various periods in time, within the framework of Western culture. The series reflects upon the pictorial qualities of hair: studying its materiality and its ability to convey identity, while also recalling the Victorian "hair medallion"--a small, decorative keepsake made from an ornate curl of a loved one's hair, a pre-photographic memento that draws connections between portraiture, identity and memory. The figures appear as ornate statues, each characterized by the aesthetic associations and revisited stereotypes of their hairstyle. The anonymity of the images presented in The Hunt activates the mind's associative aptitude, drawing upon one's own fantasies and projections of sensuality, innocence, order, freedom, frivolity and social rank. Echoing classical art, these images refer to a mystical icon rather than presenting a portrait of an individual.
A multimedia portrait of a fictional woman artist caught between two cultures.
In her latest body of work, multimedia artist Shirin Neshat (born 1957) turns her focus to the American West. With more than 100 photographs, a two-channel video installation and a feature film, Neshat creates a multilayered look at contemporary America through the eyes of a fictionalized artist. Monumental black-and-white photographs are transformed through Neshat's use of Farsi text and images that have been hand-drawn onto the picture. The texts represent Neshat's interpretation of the dreams of the sitter, with references to ancient myths and ideologies. Neshat works and experiments with photography, video and film, imbuing them with highly poetic and politically charged images and narratives that question issues of power, religion, race, gender and the relationship between the past and present, occident and orient, individual and collective through the lens of her personal experiences as an Iranian woman living in exile.
Publish Your Photography Book a été initialement publié en 2011 et a ensuite été vendu en deux éditions. Cette troisième édition très attendue guide les artistes photographes à travers les étapes nécessaires à la publication d'un livre de leur travail. Les experts du secteur, Darius D. Himes et Mary Virginia Swanson, examinent le paysage actuel de l'édition de livres de photographie et soulignent les nombreuses voies à suivre et les pièges à éviter. Ce guide expert mis à jour couvre : une histoire du livre photo ; un aperçu de l'industrie de l'édition; le processus permettant de donner à votre projet la forme d'un livre (avec des options de publication traditionnelle et d'auto-édition) ; comment commercialiser un livre de photographie (y compris un dialogue avec les collectionneurs sur les livres en édition limitée et les livres d'artistes) ; des études de cas uniques avec des photographes publiés ; et des ressources précieuses sur les supports de production, les délais de publication et de commercialisation.
100 $ Works présente un aperçu complet des dessins numérotés de la série R du pionnier du conceptualisme Sol LeWitt, qu'il a créés de 1971 à 1979. Dès 1967, LeWitt avait commencé à réaliser des oeuvres découpées, pliées et déchirées, dont il maintenait le prix à 100 dollars. Ses dessins muraux se vendant déjà pour des milliers de dollars, il souhaitait donc proposer des oeuvres accessibles financièrement au plus grand nombre.
Ce bel ouvrage propose une méditation photographique sur les changements constants de la mer par Barbara Bosworth à qui l'ont doit déjà les séries The Heavens and The Meadow.
Billboards est une oeuvre emblématique et engagée de l'artiste cubain Félix Gonzalez-Torres ayant marqué l'art et l'activisme du XXe siècle. D'abord présentés en 1992 dans les rues de Manhattan en remplacement d'une exposition au MoMA qu'il refuse, ces grands panneaux publicitaires présentaient des lits vides et défaits, dont les deux oreillers présentaient encore la trace des têtes ayant reposé là récemment. Ces images renvoyaient aux nombreuses victimes du Sida qui mourraient chez elles en silence, souvent dans la précarité et sans autre soutien que celui d'amis proches. Une importante partie de la génération d'artistes des années 80 a été frappée par l'épidémie et cette oeuvre en est devenue le symbole. Pour célébrer ses 15 ans en 2010, l'Artspace de San Antonio, au Texas, a organisé une ambitieuse exposition comprenant 336 panneaux de l'artiste réalisés par lui ou après sa mort à partir de son travail, disséminés dans quatre villes (Austin, Houston, Dallas et San Antonio). Ce catalogue documente cette rétrospective qui rend hommage à une série d'oeuvres majeures.
Réédition pour cette série culte et étrange, augmentée ici de 8 images inédites : Kohei Yoshiyuki a utilisé un appareil photo 35 mm, un film infrarouge et un flash pour saisir les amants et les voyeurs, dans les parcs de Shinjuku, Yoyogi et Aoyama à Tokyo. Ses photos documentent les gens qui se sont rassemblés dans ces parcs la nuit pour des fêtes clandestines ou pour pratiquer l'échangisme, ainsi que les nombreux spectateurs qui se cachent dans les buissons pour regarder et parfois toucher ceux qu'ils approchent. Avec leur qualité brute, proche de celle des instantanés, ces images parlent du statut du regard, celui des voyeurs et par extension, celui du spectateur de cette série, mais révèle également un aspect inattendu et méconnu de la vie sexuelle japonaise.
Stephen Dupont (born 1967) is an Australian photographer who has produced hauntingly beautiful images of fragile cultures and marginalized peoples since beginning his photographic career in 1989. Piksa Nuigini records Dupont's journey through some of the most important cultural and historical zones in Papua New Guinea: the Highlands, Sepik, Bougainville and the capital city, Port Moresby. Through images and diary entries, Dupont captures the spirit of human life on one of the world's last truly wild frontiers. This work was conducted with the support of the Robert Gardner Fellowship of Photography at Harvard's Peabody Museum of Archaeology and Ethnology. The publication consists of two slipcased volumes: Piksa Nuigini: Portraits and Piksa Nuigini: Diaries. The former is a collection of portraits reproduced in luscious duotone; the latter a collection of the diaries, drawings, contact sheets and documentary photographs that Dupont produced as he created his work.
L'autrice de Welcome to Camp America, propose ici une exploration étrange du pouvoir à l'oeuvre et de l'identité de l'Amérique dans l'ère post-11 septembre 2001. Réalisée sur dix bases militaires à travers les États-Unis depuis 2016, la série Necessary Fictions documente des paysages de villages fictifs dans le pays fictif d '"Atropia" et ses habitants, des acteurs participant à des scénarios d'entraînement réalistes.
En 2018, les photographes Jennifer Garza-Cuen et Odette England ont passé une semaine à la résidence de la Fondation Robert Rauschenberg à Captiva, en Floride, pour réaliser une série de près de 200 photogrammes. Les images ont été réalisées dans la piscine de Rauschenberg, en utilisant du papier gélatine argentique périmé des années 1970 trouvé dans sa chambre noire.
Long-lost images of family and friends from the late 1970s by the acclaimed portraitist and chronicler of domesticity.
Over the course of her 40-year career, acclaimed American photographer Tina Barney has illuminated the inner lives of her subjects, observing the generational repetition of familial traditions and rituals as played out in domestic settings. In the summer of 2020, at the height of Covid and quarantine restrictions, Barney began to sort through her archive, which contained thousands of 35mm negatives taken between 1976 and 1980. Finding these long-forgotten images engendered a rediscovery of some of her most intimate memories as a young artist: «the photographs in this book seem like X-rays of my mind and thoughts through the summers I spent with family and friends on the East Coast and in Sun Valley, Idaho.» Revisiting her work from decades prior, Barney found herself meditating on who and where she was at the time, as well as why and how she approached specific subjects. What was the impetus to capture these moments? The Beginning encompasses Barney's nostalgic exploration of her earliest work in the medium, and further reflects a self-examination of this formative period through a critical lens.
The photographs of Tina Barney (born 1945) are in numerous public collections, including the Museum of Modern Art, New York; the Whitney Museum of American Art; Los Angeles County Museum of Art; the Museum of Fine Arts, Boston; and the Nicola Erni Collection, Zug, Switzerland. Barney's work has been the subject of major recent exhibitions at the New Orleans Museum of Art; Frist Center, Nashville; and the Barbican, London.
