Throughout the history of photography the genre of landscape has been dominated by male perspectives. In this work, ten women photographers interpret the notion of landscape from a variety of perspectives.

Shining in Absence, the twelfth issue of the journal AMC2, addresses the disappearance of photography both as an idea and as a material object. Images of torn, vacant photo albums, empty frames and mounting corners fill this poignant volume, allowing viewers to consider the absence of such vestiges in their own lives.

Reimagines photography through the long history of ideas of expression The end of the nineteenth century saw massive developments and innovations in photography at a time when the forces of Western modernity—industrialization, racialization, and capitalism—were quickly reshaping the world. The Unintended slows down the moment in which the technology of photography seemed to speed itself—and so the history of racial capitalism—up. It follows the substantial shifts in the markets, mediums, and forms of photography during a legally murky period at the end of the nineteenth century. Monica Huerta traces the subtle and paradoxical ways legal thinking through photographic lenses reinscribed a particular aesthetics of whiteness in the very conceptions of property ownership. The book pulls together an archive that encompasses the histories of performance and portraiture alongside the legal, pursuing the logics by which property rights involving photographs are affirmed (or denied) in precedent-setting court cases and legal texts. Emphasizing the making of “expression” into property to focus our attention on the failures of control that cameras do not invent, but rather put new emphasis on, this book argues that designations of control’s absence are central to the practice and idea of property-making. The Unintended proposes that tracking and analyzing the sensed horizons of intention, control, autonomy, will, and volition offers another way into understanding how white supremacy functions. Ultimately, its unique historical reading practice offers a historically-specific vantage on the everyday workings of racial capitalism and the inheritances of white supremacy that structure so much of our lives.

Throughout the history of photography the genre of landscape has been dominated by male perspectives. "Shifting Horizons" makes us rethink our perceptions of the inner and outer landscapes we experience. Ten women photographers reinterpret the notion of "landscape." Using techniques ranging from historical non-silver processes to new digital imaging technologies, they are concerned with borders: between land and sea, day and night, inside and outside, public and private, absence and presence, space and enclosure, image and words; past, present and future.

The must-have guide for all artists who draw the human figure!In Morpho: Hands and Feet, artist and teacher Michel Lauricella presents a unique approach to learning to draw the human body. In this book, Lauricella focuses exclusively on the hands and feet--arguably the most popular and, for many, the most challenging parts of the body to draw successfully. Breaking the subject matter down into the underlying skeletal shapes, followed by the musculature, then the skin and fat, and finally, the veins, Lauricella offers multiple approaches--from simple forms to complex renderings--and a plethora of positions and gestures are included to help you improve your drawing skills.Geared toward artists of all levels, from beginners through professionals, this handy, pocket-sized book will help spark your imagination and creativity. Whether your interest is in figure drawing, fine arts, fashion design, game design, or creating comic book or manga art, you will find this helpful book filled with actionable insights.(Publisher's Note: This book features an "exposed" binding style. This is intentional as it is designed to help the book lay flat as you draw.) TABLE OF CONTENTSForewordIntroductionHandsFeetResources

Collage and Architecture remains an invaluable resource for students and practitioners as the first book to cover collage as a tool for analysis and design in architecture. Since entering the contemporary art world over a century ago, collage has profoundly influenced artists and architects throughout the twentieth century and into the twenty-first. In Collage and Architecture, Jennifer A.E. Shields explores its influence, using the artworks and built projects of leading artists and architects, such as Mies van der Rohe, Daniel Libeskind, and Teddy Cruz to illustrate the diversity of collage techniques. This new edition includes: A stronger focus on contemporary practices, including digital methods New designers and architects, including Marshall Brown, WAI Architecture Think Tank, and Tatiana Bilbao, bringing their methods and work to life An expanded global and diverse perspective of architecture as collage Collage is an important instrument for analysis and design. Through its 290 color images, this book shows how this versatile medium can be adapted and transformed in your own work.

Halifax's former Poet Laureate Afua Cooper and photographer Wilfried Raussert collaborate in this book of poems and photographs focused on everyday Black experiences. The result is a jambalaya -- a dialogue between image and text. Cooper translates Raussert's photos into poetry, painting a profound image of what disembodied historical facts might look like when they are embodied in contemporary characters. This visual and textual conversation honours the multiple layers of Blackness in the African diaspora around North America and Europe. The result is a work that amplifies black beauty and offers audible resistance.

A new edition of John Berger and Jean Mohr's classic investigation into the nature of photography and what makes it so different from other art forms 'One of the world's most influential art critics ... Berger sees clearly with fresh surprise yet profound understanding' Washington Times In one of the most eloquent accounts of photography ever devised, the writer John Berger and the photographer Jean Mohr set out to understand the fundamental nature of photography and how it makes its impact. Asking a range of questions - What is a photograph? What do photographs mean? How can they be used? - they give their answers in terms of a photograph as 'a meeting place where the interests of the photographer, the photographed, the viewer and those who are using the photography are often contradictory'. From these beginnings they develop a theory of photography that has at its centre the form's essential ambiguity, arguing that photography is totally unlike a film and has nothing to do with reportage. Rather, it constitutes 'another way of telling'. The unique combination of critic and photographer results in a work that moves beyond the landmarks established by Walter Benjamin, Roland Barthes and Susan Sontag to establish a new theory of photography. This unique combination of words and pictures includes 230 photographs by Jean Mohr.

This selection of women's writings on photography proposes a new and different history, demonstrating the ways in which women's perspectives have advanced photographic criticism over 150 years, focusing it more deeply and, with the advent of feminist approaches, increasingly challenging its orthodoxies. Included in the book are Rosalind Krauss, Ingrid Sischy, Vicki Goldberg and Carol Squiers.

There is a layer of the public architecture that has become so familiar that we barely notice it. Street furniture has the capacity to define a city, to locate it and to anchor us within it. Benches, bollards, streetlights, signs, barriers, post boxes, phone booths - they are the physical manifestation of public infrastructure, a network of goods between architecture and the body. In this book, Edwin Heathcote, architecture and design critic of the Financial Times, looks at the cultural impact of street furniture using photography as a measure of how these things have become indispensable components of the cityscape. Based mainly in and on London - but including New York, Paris and Budapest - Heathcote uses history, personal reflection and the lenses of photographers to examine the status of these urban artefacts in both the contemporary imagination and the city streets themselves. It looks at the changing landscape of the cityscape and the way in which street furniture has been adapted to address new technologies, the culture of surveillance and shifts in taste, orthodoxy and material culture. On the Street looks at the language of street furniture reflected through the glaze of photography and contemporary culture. It is a book about the elements of the streetscape which can exert an increasing impact on our interaction with the cities we inhabit.

From July 1943 to the Nazis' final defeat in May 1945 the Panther main battle tank and its variants were the mainstay of Germany's armoured forces. This superbly engineered fighting vehicle offered a lethal combination of firepower, mobility and protection. As this classic Images of War series title reveals, the Panther saw non-stop fighting on the Eastern, Western and Italian fronts. Using rare and often unpublished contemporary photographs with full captions and authoritative text, it provides a comprehensive coverage of elite Panther battalions in action. The book traces the development of the Panther, for example into tank hunter (Panzerjager), and also covers the other supporting vehicles that formed part of the Panther battalions' establishment. These included armoured recovery, Bergepanther, halftracks, Sd.kfz.2 Kettenrad, gun tractors and communications vehicles.

Dans cet ouvrage Claire Olivier s'interesse a la maniere dont l'ecrivain, cineaste, photographe et plasticien Jean-Philippe Toussaint, experimente la puissance des images pour composer en ce debut du XXIe siecle une oeuvre singuliere fondee sur des relations transesthetiques. In this book, Claire Olivier analyses how the writer, filmmaker, photographer and plastic artist Jean-Philippe Toussaint experiments with the power of images to create, in the 21st century, a singular work based on transaesthetic relationships.

This volume addresses new theoretical approaches in visual and memory studies that prompted to rethink of the photography of Russian Turkestan of the nineteenth and early twentieth centuries. Attempts to relate the visual unknown documentations to postcolonial criticism also opened up new interpretive arenas, helping to decentralize the analysis of the history of photography. The aim of this volume is to interpret photography as a specific tool that reifies reality, subjectively frames it, and fits it into various political, ideological, commercial, scientific, and artistic contexts. Without reducing the entire argument to the binary of 'photography and power', the authors reveal the different modes of seeing that involve distinct cultural norms, social practices, power relations, levels of technology, and networks for circulating photography, and that determined the manner of its (re)use in constructing various images of Central Asia. The volume demonstrates that photography was the cornerstone of imperial media governance and discourse construction in colonial Turkestan of the tsarist and early Soviet periods. The various cases show the complex mechanisms by which images of Turkestan were created, remembered, or forgotten from the nineteenth until the twenty-first century. The book should appeal to scholars of the Russian Empire and Central Asia; of history of photography and visual culture; of memory studies. It should be appropriate for use in upper-level undergraduate courses, and even a broader public.