2016, ISBN: 9780262532884

Gebundene Ausgabe

University of Washington Press, February 2013. Oversized Hardcover . Very Good/No Jacket As Issued. 'Out [o] Fashion Photography: Embracing Beauty' investigates the transformati… Mehr…

University of Washington Press, February 2013. Oversized Hardcover . Very Good/No Jacket As Issued. 'Out [o] Fashion Photography: Embracing Beauty' investigates the transformative experience of the photograph. In this book Deborah Willis explores historical perceptions of beauty and desire through artistic and ethnographic imagery and the role individual photographers play in constructing ways of seeing. Through the themes of idealized beauty, the unfashionable body, the gendered image, and photography as memory, Willis challenges and makes problematic the 'reading' of photographic images in the twenty-first century. Working from the significant photographic holdings of the University of Washington's Henry Art Gallery, and the University of Washington Libraries, Special Collections, the author examines shifting gender attitudes that emerged in work by women photographers such as Gertrude K sebier and Diane Arbus. Willis discusses ethnographic ideologies underpinning the work of Edward Sheriff Curtis and Fred E. Miller who worked with Native American subjects, as well as the framing and reframing of images of black people in the work of Samuel Montague Fassett and Carrie Mae Weems. Additionally, the effects of fashion and desire on the imaging of beauty are examined in the work of such artists as Don Wallen, Janieta Eyre, and Jan Saudek. The book includes full-page illustrations of works by more than fifty internationally recognized photographers including Lisette Model, Imogen Cunningham, Lewis Wickes Hine, Bruce Davidson, Cecil Beaton, Nan Goldin, Andr Kert sz, Lee Friedlander, Lorna Simpson, Cindy Sherman, and Andy Warhol. Deborah Willis is professor of photography and imaging at New York University's Tisch School of the Arts. Includes images from the 19th through the 21st century by Diane Arbus, Cecil Beaton, Imogen Cunningham, Gertrude Kasebier, Andy Warhol, Garry Winograd, and others., University of Washington Press, 3, Istanbul: Istanbul Modern, 2012. Soft cover. New. 4to - over 9¾ - 12" tall. Paperback. Pbo. 4to. (27.5 x 23.5 cm). In Turkish and English. Color and B/w photos and ills. 91, [5] p. Within the framework of the celebrations of 400 years of diplomatic relations between the Netherlands and Turkey, Istanbul Modern is hosting the exhibition La La La Human Steps: A Selection from the Collection of Museum Boijmans Van Beuningen. The show consists of a special selection gathered for Istanbul Modern by Sjarel Ex, Director of Museum Boijmans Van Beuningen, from the museum's collection of over 140 thousand works. Museum Boijmans Van Beuningen was founded in 1849 and is one of the Netherland's most renowned museums with a worldwide reputation. Bringing together old masters and prominent contemporary artists, La La La Human Steps is a show that focuses on human relations in today's world. It is possible to translate, at historical, personal, and public levels, many themes pertaining to humanity, human relations, and our struggle to cope with life as human beings. Hence the show takes "us" as its starting point. While on the one hand the exhibition explores the individual's desire to find answers to personal issues, on the other it questions the ways in which individuals confront with one another in society. Artists featured are: Vito Acconci, Bas Jan Ader, Yael Bartana, Sebald Beham, Erhard Schon, Niklas Stoer, John Bock, David Claerbout, Pieter Coecke van Aelst, Peter Feiler, Yang Fudong Cyprien Gaillard, Sejla Kameric, Paul Kooiker, Inez van Lamsweerde, Erin van Lieshout, Aernout Mik, Melvin Moti, Zwelethu Mthethwa, Bruce Nauman, Joachim Patinir, Anri Sala, Cindy Sherman, Marijke van Warmerdam, Andro Wekua, Guido van der Werve, Sylvie Zijmans, Melvin Moti, Zwelethu Mthethwa, Bruce Nauman, Joachim Patinir, Anri Sala, Cindy Sherman, Salla Tykka, Marijke van Warmerdam, Andro Wekua, Guido van der Werve, Sylvie Zijlmans., Istanbul Modern, 2012, 6, The Parrish Art Museum, 2007. Paperback. Very Good. Unmarked. Accompanied August 12-October 14, 2007 exhibition at the Parrish Art Museum. Essays. Color Plates. Exhibition checklist. Artists include Vito Acconci, Diane Arbus, Louise Bourgeois, Chuck Close, Lucien Freud, Gustav Klimt, Catherine Murphy, Alice Neel, Catherine Opie, Egon Schiele, Cindy Sherman, and others. 136p. Measures 8x10 inches., The Parrish Art Museum, 2007, 3, Princeton University Press, 2016. Hardcover. Like New/as new. Factory sealed. Exhibition catalog. This exhibition bought together 35 works by 19 critically acclaimed artists who, through innovative experimentation and visionary conceptual scope, have changed the course of contemporary photography. Artists include Andreas Gursky, Candida Hofer, Thomas Struth, Thomas Ruff, Thomas Demand, Vik Muniz, Cindy Sherman, Hiroshi Sugimoto, Catherine Opie and others. 106p. 71 illustrations. Measures 10x12 inches. Contributors include Sarah Greenough, Philip Brookman, Andrea Nelson, Leslie Urena, and Diane Waggoner, Princeton University Press, 2016, 5, New York City, NY: Pace/Macgill Gallery, 1991. First Edition. First Printing.. Softcover. Fine/No Dust Jacket, As Issued.. New York City, NY: Pace/Macgill Gallery, 1991. Softcover. Fine/None, As Issued. First Edition/First Printing. 22 pages. Exhibition Catalog. One of the most beautiful exhibition catalogs on the art of Lucas Samaras. The first and only edition. Published in small and limited print run as a softcover original only. There is no ISBN. The Exhibition Catalog is now rare. Published on the occasion of the landmark exhibition held at Pace/MacGill Gallery New York City in 1991. Presents Lucas Samaras' new work following the immense controversy and success of his Whitney Museum of American Art splash. Samaras' focus is still himself, a vehement assertion, as Peter Schjeldahl notes in his Essay, that the only true subject (and the only reality) of the artist/photographer is oneself, whatever else he (or she) may be photographing. A painter and a sculptor before he turned full-time to photography, Samaras remains best-known for his Polaroid collages to this day: Elaborate, flamboyant, and daring self-portraits that are aggressively and uninhibitedly American despite their European roots. Samaras was not the first to create such a body of work. Pierre Molinier was. The difference is that Molinier did it for exclusively private reasons and kept his self-portraits hidden from view until the very end, when he killed himself. Samaras turned Molinier's private obsessions into a party, making auto-eroticism a central element of post-Modernist art (think of Robert Mapplethorpe and Cindy Sherman, to name only two very different descendants). "In his most profound achievement, he adopted one of photography's basic genres, portraiture, and used it as a basis for an inquiry into the self, which remains unmatched in its intensity and boundless in its ramifications. Samaras split himself into model, actor, director, audience, and critic. To each of these roles, he brought a skilled artist's hand and an eye deeply informed by the historical traditions and motifs of art. He became a rare figure in American art, not an artist who occasionally uses photography for tactical reasons, but an artist who made photography central to his aesthetic" (Ben Lifson). An absolute "must-have" title for Lucas Samaras collectors. This title is now collectible. As far as we know, this is the only copy of the Exhibition Catalog available online and is in especially fine condition: Clean, crisp, and bright. A rare copy thus. 16 color plates. "Samaras Album: Autointerview, Autobiography, Autopolaroid" was selected as one of the "Seminal Photography Books" in "The Book of 101 Books". One of the greatest artist/photographers of our time. A fine copy. (SEE ALSO OTHER LUCAS SAMARAS TITLES IN OUR CATALOG)., Pace/Macgill Gallery, 1991, 5, M.I.T. Press, Cambridge, 2007. paperback. fine. The cinematic has been a springboard for the work of many influential artists, including Victor Burgin, Philip-Lorca diCorcia, Stan Douglas, Nan Goldin, Douglas Gordon, Cindy Sherman, and Jeff Wall, among others. Much recent cinema, meanwhile, is rich with references to contemporary photography. Video art has taken a photographic turn into pensive slowness; photography now has at its disposal the budgets and scale of cinema. This addition to Whitechapel's Documents of Contemporary Art series surveys the rich history of creative interaction between the moving and the still photograph, tracing their ever-changing relationship since early modernism., , Still photographycinema's ghostly parentwas eclipsed by the medium of film, but also set free. The rise of cinema obliged photography to make a virtue of its own stillness. Film, on the other hand, envied the simplicity, the lightness, and the precision of photography. Russian Constructivist filmmakers considered avant-garde cinema as a sequence of graphic "shots"; their Bauhaus, Constructivist and Futurist photographer contemporaries assembled photographs into a form of cinema on the page. In response to the rise of popular cinema, Henri Cartier-Bresson exalted the "decisive moment" of the still photograph. In the 1950s, reportage photography began to explore the possibility of snatching filmic fragments. Since the 1960s, conceptual and postconceptual artists have explored the narrative enigmas of the found film still. The Cinematic assembles key writings by artists and theorists from the 1920s onincluding László Moholy-Nagy, Pier Paolo Pasolini, Victor Burgin, Jeff Wall, and Catherine Daviddocumenting the photography-film dialogue that has enriched both media., , Contributors:, Roland Barthes, Jean Baudrillard, Raymond Bellour, Anton Giulio Bragaglia, Victor Burgin, Henri Cartier-Bresson, Catherine David, Thierry de Duve, Gilles Deleuze, Philip-Lorca diCorcia, Philippe Dubois, Régis Durand, Sergei Eisenstein, Mike Figgis, Hollis Frampton, Susanne Gaensheimer, Nan Goldin, Chris Marker, Christian Metz, Laura Mulvey, László Moholy-Nagy, Beaumont Newhall, Uriel Orlow, Pier Paolo Pasolini, Constance Penley, Richard Prince, Steve Reich, Carlo Rim, Raul Ruiz, Susan Sontag, Blake Stimson, Michael Tarantino, Agnès Varda, Jeff Wall, Andy Warhol, and Peter Wollen., M.I.T. Press, Cambridge, 2007, 5<

2007, ISBN: 9780262532884

São Paulo: Senac São Paulo, 2003. b/w plates, port., bio/chron., b/w pict. fldg. wrps. Photographs by Luis Humberto (b. Rio de Janeiro, 1934). Luis Humberto has been in the photographer … Mehr…

São Paulo: Senac São Paulo, 2003. b/w plates, port., bio/chron., b/w pict. fldg. wrps. Photographs by Luis Humberto (b. Rio de Janeiro, 1934). Luis Humberto has been in the photographer career for over 40 years and was a cofounder of Universidade de Brasília and began the school for Photojournalism. First in a series on Brazilian photographers and photography in BrazilAn editorial collection dedicated to Brazilian photographers. This first number is dedicated to Luiz Humberto Miranda Martins (b. Rio de Janeiro 1934), whom with a formation in architecture, later became a noted photojournalist. "Visual information is not summarized in the confirmation of the obvious, it's an entrance door for new landscapes and new reflections. And that's what we see in the photographs of Luiz Humberto that make up this book. The choice, the editing of images made by the photographer himself, followed exactly those principles he defends. The instant of a minute, the decisive moment created by the Hungarian photographer André Kértesz and popularized by the French Henry Cartier-Bresson." (Our translation) --Page 9. Contents: Nota do editor -- Apresentação / Simonetta Persichetti., Senac São Paulo, 2003, 0, M.I.T. Press, Cambridge, 2007. paperback. fine. The cinematic has been a springboard for the work of many influential artists, including Victor Burgin, Philip-Lorca diCorcia, Stan Douglas, Nan Goldin, Douglas Gordon, Cindy Sherman, and Jeff Wall, among others. Much recent cinema, meanwhile, is rich with references to contemporary photography. Video art has taken a photographic turn into pensive slowness; photography now has at its disposal the budgets and scale of cinema. This addition to Whitechapel's Documents of Contemporary Art series surveys the rich history of creative interaction between the moving and the still photograph, tracing their ever-changing relationship since early modernism., , Still photographycinema's ghostly parentwas eclipsed by the medium of film, but also set free. The rise of cinema obliged photography to make a virtue of its own stillness. Film, on the other hand, envied the simplicity, the lightness, and the precision of photography. Russian Constructivist filmmakers considered avant-garde cinema as a sequence of graphic "shots"; their Bauhaus, Constructivist and Futurist photographer contemporaries assembled photographs into a form of cinema on the page. In response to the rise of popular cinema, Henri Cartier-Bresson exalted the "decisive moment" of the still photograph. In the 1950s, reportage photography began to explore the possibility of snatching filmic fragments. Since the 1960s, conceptual and postconceptual artists have explored the narrative enigmas of the found film still. The Cinematic assembles key writings by artists and theorists from the 1920s onincluding László Moholy-Nagy, Pier Paolo Pasolini, Victor Burgin, Jeff Wall, and Catherine Daviddocumenting the photography-film dialogue that has enriched both media., , Contributors:, Roland Barthes, Jean Baudrillard, Raymond Bellour, Anton Giulio Bragaglia, Victor Burgin, Henri Cartier-Bresson, Catherine David, Thierry de Duve, Gilles Deleuze, Philip-Lorca diCorcia, Philippe Dubois, Régis Durand, Sergei Eisenstein, Mike Figgis, Hollis Frampton, Susanne Gaensheimer, Nan Goldin, Chris Marker, Christian Metz, Laura Mulvey, László Moholy-Nagy, Beaumont Newhall, Uriel Orlow, Pier Paolo Pasolini, Constance Penley, Richard Prince, Steve Reich, Carlo Rim, Raul Ruiz, Susan Sontag, Blake Stimson, Michael Tarantino, Agnès Varda, Jeff Wall, Andy Warhol, and Peter Wollen., M.I.T. Press, Cambridge, 2007, 5<

2007, ISBN: 9780262532884

London: Coo Press Ltd, 1973. First edition. Softcover. May 1973. Features images by these photographers: Todd Walker, Anton Bragaglia, Marc Garanger, Alexander Rodchenko. A near fine cop… Mehr…

London: Coo Press Ltd, 1973. First edition. Softcover. May 1973. Features images by these photographers: Todd Walker, Anton Bragaglia, Marc Garanger, Alexander Rodchenko. A near fine copy in stapled wrappers with some very light wear., Coo Press Ltd, 1973, 0, M.I.T. Press, Cambridge, 2007. paperback. fine. The cinematic has been a springboard for the work of many influential artists, including Victor Burgin, Philip-Lorca diCorcia, Stan Douglas, Nan Goldin, Douglas Gordon, Cindy Sherman, and Jeff Wall, among others. Much recent cinema, meanwhile, is rich with references to contemporary photography. Video art has taken a photographic turn into pensive slowness; photography now has at its disposal the budgets and scale of cinema. This addition to Whitechapel's Documents of Contemporary Art series surveys the rich history of creative interaction between the moving and the still photograph, tracing their ever-changing relationship since early modernism., , Still photographycinema's ghostly parentwas eclipsed by the medium of film, but also set free. The rise of cinema obliged photography to make a virtue of its own stillness. Film, on the other hand, envied the simplicity, the lightness, and the precision of photography. Russian Constructivist filmmakers considered avant-garde cinema as a sequence of graphic "shots"; their Bauhaus, Constructivist and Futurist photographer contemporaries assembled photographs into a form of cinema on the page. In response to the rise of popular cinema, Henri Cartier-Bresson exalted the "decisive moment" of the still photograph. In the 1950s, reportage photography began to explore the possibility of snatching filmic fragments. Since the 1960s, conceptual and postconceptual artists have explored the narrative enigmas of the found film still. The Cinematic assembles key writings by artists and theorists from the 1920s onincluding László Moholy-Nagy, Pier Paolo Pasolini, Victor Burgin, Jeff Wall, and Catherine Daviddocumenting the photography-film dialogue that has enriched both media., , Contributors:, Roland Barthes, Jean Baudrillard, Raymond Bellour, Anton Giulio Bragaglia, Victor Burgin, Henri Cartier-Bresson, Catherine David, Thierry de Duve, Gilles Deleuze, Philip-Lorca diCorcia, Philippe Dubois, Régis Durand, Sergei Eisenstein, Mike Figgis, Hollis Frampton, Susanne Gaensheimer, Nan Goldin, Chris Marker, Christian Metz, Laura Mulvey, László Moholy-Nagy, Beaumont Newhall, Uriel Orlow, Pier Paolo Pasolini, Constance Penley, Richard Prince, Steve Reich, Carlo Rim, Raul Ruiz, Susan Sontag, Blake Stimson, Michael Tarantino, Agnès Varda, Jeff Wall, Andy Warhol, and Peter Wollen., M.I.T. Press, Cambridge, 2007, 5<

2007, ISBN: 9780262532884

M.I.T. Press, Cambridge, 2007. paperback. fine. The cinematic has been a springboard for the work of many influential artists, including Victor Burgin, Philip-Lorca diCorcia, Stan Dougl… Mehr…

M.I.T. Press, Cambridge, 2007. paperback. fine. The cinematic has been a springboard for the work of many influential artists, including Victor Burgin, Philip-Lorca diCorcia, Stan Douglas, Nan Goldin, Douglas Gordon, Cindy Sherman, and Jeff Wall, among others. Much recent cinema, meanwhile, is rich with references to contemporary photography. Video art has taken a photographic turn into pensive slowness; photography now has at its disposal the budgets and scale of cinema. This addition to Whitechapel's Documents of Contemporary Art series surveys the rich history of creative interaction between the moving and the still photograph, tracing their ever-changing relationship since early modernism., , Still photographycinema's ghostly parentwas eclipsed by the medium of film, but also set free. The rise of cinema obliged photography to make a virtue of its own stillness. Film, on the other hand, envied the simplicity, the lightness, and the precision of photography. Russian Constructivist filmmakers considered avant-garde cinema as a sequence of graphic "shots"; their Bauhaus, Constructivist and Futurist photographer contemporaries assembled photographs into a form of cinema on the page. In response to the rise of popular cinema, Henri Cartier-Bresson exalted the "decisive moment" of the still photograph. In the 1950s, reportage photography began to explore the possibility of snatching filmic fragments. Since the 1960s, conceptual and postconceptual artists have explored the narrative enigmas of the found film still. The Cinematic assembles key writings by artists and theorists from the 1920s onincluding László Moholy-Nagy, Pier Paolo Pasolini, Victor Burgin, Jeff Wall, and Catherine Daviddocumenting the photography-film dialogue that has enriched both media., , Contributors:, Roland Barthes, Jean Baudrillard, Raymond Bellour, Anton Giulio Bragaglia, Victor Burgin, Henri Cartier-Bresson, Catherine David, Thierry de Duve, Gilles Deleuze, Philip-Lorca diCorcia, Philippe Dubois, Régis Durand, Sergei Eisenstein, Mike Figgis, Hollis Frampton, Susanne Gaensheimer, Nan Goldin, Chris Marker, Christian Metz, Laura Mulvey, László Moholy-Nagy, Beaumont Newhall, Uriel Orlow, Pier Paolo Pasolini, Constance Penley, Richard Prince, Steve Reich, Carlo Rim, Raul Ruiz, Susan Sontag, Blake Stimson, Michael Tarantino, Agnès Varda, Jeff Wall, Andy Warhol, and Peter Wollen., M.I.T. Press, Cambridge, 2007, 5<