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Books > Arts & Architecture > Photography & photographs > General
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Petrus
(Hardcover)
Francesca Catastini
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R1,034
R858
Discovery Miles 8 580
Save R176 (17%)
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Ships in 12 - 19 working days
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This book turns a compelling new lens on thinking about the history
of Paris and photography. The invention of photography changed how
history could be written. But the now commonplace assumptions-that
photographs capture fragments of lost time or present emotional
gateways to the past-that structure today's understandings did not
emerge whole cloth in 1839. Focusing on one of photography's
birthplaces, Paris and the Cliche of History tells the story of how
photographs came to be imagined as documents of the past. Author
Catherine E. Clark analyzes photography's effects on historical
interpretation by examining the formation of Paris's first photo
archives at the Musee Carnavalet and the city's municipal library,
their use in illustrated history books and historical exhibitions
and reconstructions such as the 1951 celebration of Paris's 2000th
birthday, and the public's contribution to the historical record in
amateur photo contests. Despite the photograph's growing importance
in these forums, it did not simply replace older forms of
illustration, visual documentation, or written text. Photos worked
in complex and shifting relation to other types of pictures as
photographers, popular historians, and publishers built on the
traditions and iconography of painting and engraving in order to
both document the past scientifically and objectively and to
reconstruct it romantically. In doing so, they not only influenced
how Parisians thought about the city's past and how they pictured
it; they also ensured that these images shaped how Parisians lived
their own lives-especially in deeply charged moments such as the
Liberation after World War II. This history of picturing Paris does
not simply reflect the city's history: it is Parisian history.
With the migration of cinema into the art gallery, artists have
been turning, with remarkable regularity and ingenuity, to Alfred
Hitchcock-related images, sequences and iconography. The world of
Hitchcock's cinema - a classical cinema of formal unities and
narrative coherence - represents more than the spectre of a
supposedly dead art form: it transcends its own filmic and
institutional contexts, becoming an important audio-visual lexicon
of desire, loss, mystery and suspense. Through a detailed study of
the Hitchcock-related work of artist-filmmakers Matthias Muller and
Christoph Girardet, Johan Grimonprez, Pierre Huyghe, Douglas Gordon
and Atom Egoyan, this book facilitates a dialogue between the
creative appropriation of Hitchcock's films and the cinematic
practices that increasingly inform the wider field of the
contemporary visual arts. Each chapter is structured around a
consideration of how the artwork in question has reconfigured or
'remade' key Hitchcockian expressive elements and motifs - in
particular, the relationship between mise en scene and the
mechanics of suspense, time, memory, history and death. In a career
that extended across silent and sound eras as well as the British,
European and Hollywood industries, Hitchcock's film oeuvre can be
seen as a history of the cinema itself. As the work of these
contemporary artist-filmmakers shows, it was also a history of the
future, a paradigm case par excellence.
Designed for photographers who haven t memorized every button,
dial, setting, and feature on their OM System Olympus OM-1, Rocky
Nook s handy and ultraportable quick reference Pocket Guide helps
you get the shot when you re out and about. Confirm that your
camera is set up properly with the pre-shoot checklist Identify
every button and dial on your camera Learn the essential modes and
settings you need to know Dive deeper with additional features of
your camera Execute step-by-step instructions for shooting
in-camera multiple exposures, HDR photographs, interval timer
photography, and time-lapse movies Follow tips and techniques for
getting great shots in typical scenarios (portrait, landscape,
freezing action, low light, etc.)
This book offers a rare and innovative consideration of an enduring
tendency in postwar art to explore places devoid of human agents in
the wake of violent encounters. To see the scenery together with
the crime elicits a double interrogation, not merely of a physical
site but also of its formation as an aesthetic artefact, and
ultimately of our own acts of looking and imagining. Closely
engaging with a vast array of works made by artists, filmmakers and
photographers, each who has forged a distinct vantage point on the
aftermath of crime and conflict, the study selectively maps the
afterlife of landscape in search of the political and ethical
agency of the image. By way of a thoroughly interdisciplinary
approach, Crime Scenery in Postwar Film and Photography brings
landscape studies into close dialogue with contemporary theory by
paying sustained attention to how the gesture of retracing past
events facilitates new configurations of the present and future.
This book studies the relationship between photography and history
in colonial Southern Africa, using a series of encounters with
Southern African photographic archives to reflect on photography as
a distinct historical form. Through use of private and public
archives, images produced by African itinerant photographers, white
settlers, and colonial state institutions, this book explores the
relationship between photography and history in colonial Southern
Africa. Late nineteenth century Cape Colonial prison albums, police
photographs from German Southwest Africa, African studio portraits,
identity documents, travel permits and passports from the 1920s and
1930s, visual studies of whiteness and blackness authored by
settler photographers, South African dompas photographs from the
1950s and 1960s, and aerial photography from the Eastern Cape in
the mid-twentieth century are examined to highlight the ways in
which photographic images cut across conventional institutional
boundaries and complicate rigid distinctions between the private
and the public, the political and the aesthetic, the colonial and
the vernacular, or the subject and the object. Photography and
History in Colonial Southern Africa argues that rather than
understanding photographs as a means of preserving and recreating
the past in the present, we can value them for how they evoke at
once the need for and the limits of historical reconstruction. This
book will be of interest to students and scholars of colonial
history, photographic history, visual media, and African studies.
For more than thirty years, Jazz Hot, the world's oldest jazz
magazine (launched in 1935, as DownBeat), has regularly published
Pascal Kober's photos, breakfast interviews, album and festival
reviews and feature articles. Over the years, he has built up a
unique catalogue of more than 35,000 jazz photos, taken all over
the world. As a freelance journalist and photographer, he later
contributed to many publications in the French and international
press. The venue: musee de l'ancier evechee. Located in the heart
of Grenoble, the Bishop's Palace (l'Ancien Eveche) is today a
protected historical monument dated from the thirteenth century,
housing a highly visited heritage museum. Since its establishment
in 1998, this museum has been curated by Isabelle Lazier, an
ethnologist, with a passion for both music and photography. In
alphabetical order: Jorge Ben, Joao Bosco, Stanley Clarke, Miles
Davis, Gil Evans, Joao Gilberto, Dizzy Gillespie, George Gruntz,
Jon Hendricks, Elvin and Hank Jones, Joachim Kuhn, Michel Legrand,
Manhattan Transfer, Branford and Ellis Marsalis, Mike Stern, Sam
Rivers, Linda Womack and... the public. Pascal Kober is a
journalist and photographer.
Throughout Germany's tumultuous twentieth century, photography was
an indispensable form of documentation. Whether acting as artists,
witnesses, or reformers, both professional and amateur
photographers chronicled social worlds through successive periods
of radical upheaval. The Ethics of Seeing brings together an
international group of scholars to explore the complex relationship
between the visual and the historic in German history. Emphasizing
the transformation of the visual arena and the ways in which
ordinary people made sense of world events, these revealing case
studies illustrate photography's multilayered role as a new form of
representation, a means to subjective experience, and a fresh mode
of narrating the past.
Four Arts of Photography explores the history of photography
through the lens of philosophy and proposes a new scholarly
understanding of the art form for the 21st century. * Re-examines
the history of art photography through four major photographic
movements and with case studies of representative images * Employs
a top-down, theory to case approach, as well as a bottom-up, case
to theory approach * Advances a new theory regarding the nature of
photography that is grounded in technology but doesn t place it in
opposition to painting * Includes commentaries by two leading
philosophers of photography, Diarmuid Costello and Cynthia A.
Freeland
...give(s) readers a stirring sense of place in which the history
of an era springs to life and captivates one's imagination.-- The
Quoddy Times
Compose, create, and print innovative art quilts starting from your
own digital photographs-even those from your phone! Well-known
fibre artist Wen Redmond starts with the tools and equipment you'll
need-any image-editing software and a standard inkjet printer-and
teaches you to alter images, print them on a variety of fibres, and
accentuate them with stitching. With a sense of adventure, even a
beginner can apply these techniques to create new and innovative
works of art. 'Nicely laid out and well-illustrated.'
www.yarnsandfabrics.co.uk
Revolution Is Love: A Year of Black Trans Liberation is the
powerful and celebratory visual record of a contemporary activist
movement in New York City, and a moving testament to the enduring
power of photography in activism, advocacy, and community. In June
2020, after a Black trans woman in Missouri and a Black trans man
in Florida were killed just weeks apart, activists Qween Jean and
Joela Rivera returned to the historic Stonewall Inn-site of the
1969 riots that launched the modern gay rights movement-where they
initiated weekly actions known thereafter as the Stonewall
Protests. Brought together by the urgent need to center Black trans
and queer lives within the Black Lives Matter movement, a vibrant
and radical community emerged. Over the following year, the
Stonewall Protests brought together thousands of people across
communities and social movements to gather in solidarity,
resistance, and communion. Each Thursday was an invitation for
protests, healing, and celebration-whether through marches, voguing
balls, or vigil-and a living testament to love in revolution. This
book gathers twenty-four photographers who participated in these
actions to share images and words on the demonstrations and their
community at large, preserving this legacy as it unfolded. Through
photographs, interviews, and text, Revolution Is Love celebrates
the power of shared joy and struggle in trans community and
liberation. Featuring images and text by Ramie Ahmed, Lucy
Baptiste, Budi, Brandon English, Deb Fong, Snake Garcia, Stas
Ginzburg, Katie Godowski, Robert Hamada, Chae Kihn, Zak Krevitt,
Erica Lansner, Daniel Lehrhaupt, Caroline Mardok, Ryan McGinley,
Josh Pacheco, Jarrett Robertson, Phoenix Robles, Souls of a
Movement, Madison Swart, Cindy Trinh, Sean Waltrous, Ruvan
Wijesooriya, and David Zung
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Les Capes
(Hardcover)
Matali Crasset; Photographs by Julien Carreyn
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R567
Discovery Miles 5 670
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Ships in 12 - 19 working days
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The Stahl House: Case Study House #22, The Making of a Modernist
Icon is the official autobiography of this world renowned
architectural gem by the family that made it their home. Considered
one of the most iconic and recognizable examples of mid-century
modern homes in the world, it was first envisioned by the owner's
Buck and Carlotta Stahl, designed by architect Pierre Koenig, and
immortalized by photographer Julius Shulman. This 1960
glass-and-steel home in the Hollywood Hills has come to embody the
idealism of a generation in search of the American dream. As one of
the Case Study Houses designed between 1945 and 1966 under the
vision of John Entenza and ARTS & ARCHITECTURE magazine, this
was an affordable yet progressive design experiment to address the
postwar housing shortage. The result-a two-bedroom,
2,200-square-foot house with glass walls that disappear into a
270-degree panorama of Los Angeles-became Koenig's piece de
resistance. The Stahl House broke rules, defied building codes that
discouraged building on cliffs, and expanded the possibilities of
residential architecture. The glass walls blurred the boundary
between indoors and outdoors. The building seemed to merge with the
city itself, the lines of the structure aligning with the geometry
of the city's gridded streets. "Los Angeles becomes an extension of
the house and vice versa," Koenig said. "The house is just a part
of the city." The book shares the never-before-told inside story by
the Stahl family's adult children who grew up there and still
graciously give home tours to fans from around the world. Through
extensive research and interviews, historical information and
personal photos are featured. This includes Buck Stahl's initial
vision of the home with his own DIY schematic model for how to
build on the complicated site. It also includes blueprints, floor
plans, and sketches by Pierre Koenig, as well as Julius Shulman's
renowned photographs. Additionally, photographs of the house used
in high-end, fashion ad campaigns and film and television are also
included, cementing The Stahl House's prominence in contemporary
culture.
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