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Books > Arts & Architecture > Photography & photographs > General
Focusing on the later work of the American photographer Francesca
Woodman (1958-1981), Claire Raymond takes up the question of the
disintegrative condition of the art she produced in the last year
of her life. Departing from the techniques of her earlier
compositions, Woodman worked in the diazotype process for many of
these late pieces, most importantly the monumental Blueprint for a
Temple. Raymond shows that through her use of diazotype, a medium
that breaks down when exposed to light, Woodman created art that is
both supremely evocative aesthetically and inherently unstable
physically. Woodman, Raymond contends, was imaginatively responding
to the end of the durable image, a historical reality acknowledged
in the way her work plays the ephemeral and evanescent against the
monumental and enduring. Raymond focuses on the theoretical and the
curatorial issues surrounding Woodman's diazotypes, a thematic and
practical distress that haunts much of her later art, especially
the artist's book and photo series Some Disordered Interior
Geometries and Portrait of a Reputation. Rather than conceiving of
Woodman herself as fragile, an artist chronicling and seeming to
yearn for her own disappearance, Raymond juxtaposes Woodman's
career-spanning documentation of her own image against other
post-war witnesses of trauma - an artist standing in the museum
ruins where she emerges most distinctly as a figure of
postmodernity.
Photographers and publishers of photographs enjoy a wide range of
legal rights including freedom of expression and of publication.
They have a right to create and publish photographs. They may
invoke their intellectual, moral and property rights to protect and
enforce their rights in their created and/or published works. These
rights are not absolute. This book analyses the various legal
restrictions and prohibitions, which may affect these rights.
Photography and the Law investigates the legal limitations faced by
professional and amateur photographers and photograph publishers
under Irish, UK and EU Law. Through an in-depth discussion of the
personal rights of the public, including the right not to be
harassed, the book gives a clear analysis of the current legal
standpoint on the relationship between privacy and freedom of
expression. Additionally, the book looks at the reconciliation of
photographers' rights with the state's interest in public security
and defence, alongside the enforcement of ethical and moral codes.
Comparative legal standing in the European Union is used as a
springboard to further analyse Irish and UK statutes and case law,
including recent reforms and current proposals for future change.
The book ends with pertinent suggestions of the necessary reforms
and enactments required to rebalance the relationship between the
personal rights of individuals, the state's duties and the
protection of photographers' and photograph publishers' rights. By
clearly explaining the theoretical and conceptual reasoning behind
the current law, alongside proposed reforms, the book will be a
useful tool for any student or academic interested in photography
law, privacy and media law, alongside professional and amateur
photographers and photograph publishers.
In 1998, Kevin Bubriski was fortunate to spend time with the
Uyghurs in Kashgar, their ancient city on the Silk Road in
Xinjiang, China. While there, he made unforgettable photographic
portraits and street scenes that reveal a haunting beauty and sense
of the past in old Kashgar. Bubriski was drawn to the faces of
ordinary people and their daily lives, with the intent that through
photographs mutual understanding between people might be fostered.
Although 1998 was an uncomfortable time of rapid transformation for
the Uyghurs, their oasis city in the high desert was still vibrant,
even as the Chinese government’s brutal crackdown was about to
commence. In the last few years, up to a million Uyghurs have been
detained in “re-education camps” while others have been
subjected to forced sterilizations and wider persecution. The
vibrancy, beauty, and grit that Bubriski witnessed and photographed
more than two decades ago has irrevocably changed. The Uyghur
cultural, economic, familial, religious, and spiritual traditions
are captured in Bubriski’s images and the extensive text by Tahir
Hamut Izgil and the late Dru Gladney. These traditions, interwoven
in Uyghurs’ lives and community for more than two millennia, have
been severely impacted by the overt and disastrous policies of the
Chinese government’s crackdown on Uyghur civil, spiritual, and
cultural activities. The Uyghur community is now fractured and
split due to widespread surveillance, mass detentions, and
incarcerations. This book is also presented in a bilingual edition
so that it is not only accessible to Uyghur people living in
non-English-speaking regions of the world, but a way for Uyghurs
around the world to reaffirm their cultural and social identity
wherever they now live. As many Uyghur families are now separated
due to detentions or flight to asylum elsewhere, the book is meant
to be an enduring gift for the Uyghur people and for all who wish
to understand better Uyghur culture and history. Bubriski’s book
is a stunning work of art that reveals an earlier time when
Kashgar, beloved city of the Uyghurs, retained much of its
traditional life and charm.
This book uses intermedial theories to study collage and montage,
tracing the transformation of visual collage into photomontage in
the early avant-garde period. Magda Dragu distinguishes between the
concepts of collage and montage, as defined across several media
(fine arts, literature, music, film, photography), based on the
type of artistic meaning they generate, rather than the mechanical
procedures involved. The book applies theories of intermediality to
collage and montage, which is crucial for understanding collage as
a form of cultural production. Throughout, the author considers the
political implications, as collages and montages were often used
for propagandistic purposes. This book combines research methods
used in several areas of inquiry: art history, literary criticism,
analytical philosophy, musicology, and aesthetics.
The transformation and expansion of a 1960s factory building in
Cold Spring, NY to house an extraordinary art collection has been
documented by Marco Anelli, Magazzino Italian Art s first artist in
residence. From initial excavations to the installation of artworks
in the galleries, Anelli traces Spanish architect Miguel Quismondo
s plan to create a space that bridges the artistic legacy of the
Hudson Valley with the demands of ambitious contemporary artworks.
Several essays and examples of founders Nancy Olnick and Giorgio
Spanu s stunning Italian art collection enliven Anelli s series of
landscape photographs and portraits. Exhibition Schedule: Italian
Cultural Institute of New York: October 4 November 2, 2017
Over forty million people a year travel to Vegas, more than to
Mecca. It is a global celebrity, an improbable oasis, a place
offering bank-breaking fortunes and instant gratification, 24/7,
with no moral debits. Award-winning writer Timothy O'Grady lived in
Vegas for two years. He finally began to understand it when he
talked to people who had grown up there, the children of the card
dealers and cocktail shakers, the jugglers and the dancers - young
people who had been bearing witness to this strange city all their
lives. One had her student loans and credit card limits stolen by
her father. Another fled a sequence of exploiters until she found
herself living in the storm drains under the casinos. There is the
boy whose father entered him into a drinking contest when he was
eight, the casino owner's son, the erudite contortionist turned
stripper. Each tells their own tale. In Children of Las Vegas,
O'Grady renews his partnership with renowned photographer Steve
Pyke. Through short essays, Pyke's portraits and ten witness
testimonies, he pierces the city's glittering facade to reveal the
darker reality that lies beneath.
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Creatures
(Hardcover)
David Batchelder; Text written by Christiane Stahl
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Discovery Miles 8 260
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A vivid and moving celebration of the ways that Black Americans
have shaped and been shaped by photography, from its inception to
the present day. A Picture Gallery of the Soul presents the work of
more than one hundred Black American artists whose practice
incorporates the photographic medium. Organized by the Katherine E.
Nash Gallery at the University of Minnesota, this group exhibition
samples a range of photographic expressions produced over three
centuries, from traditional photography to mixed media and
conceptual art. From the daguerreotypes made by Jules Lion in New
Orleans in 1840 to the Instagram post of the Baltimore Uprising
made by Devin Allen in 2015, photography has chronicled Black
American life, and Black Americans have defined the possibilities
of photography. Frederick Douglass recognized the quick, easy, and
inexpensive reproducibility of photography and developed a
theoretical framework for understanding its impact on public
discourse, which he delivered as a series of four lectures during
the Civil War. It has been widely acknowledged that Douglass, the
subject of 160 photographic portraits and the most photographed
American of the nineteenth century, anticipated that the history of
American photography and the history of Black American culture and
politics would be deeply intertwined. A Picture Gallery of the Soul
honors the diverse visions of Blackness made manifest through the
lens of photography. Published in association with the Katherine E.
Nash Gallery. Exhibition dates: Katherine E. Nash Gallery:
September 13-December 10, 2022.
Eschewing the limiting idea that nineteenth-century architecture
photography merely reflects functionality, the objective of this
collection is to reflect the aesthetic, intellectual, and cultural
concerns of the time. The essays hold appeal for social and
cultural historians, as well as those with an interest in the
fields of art history, urban geography, history of travel and
tourism. Nineteenth-century photographers captured what could be
seen and what they wanted to be seen. Their images informed of
exploration, progress, heritage, and destruction. Architecture was
a staple subject for the first generation of photographers as it
patiently tolerated the long exposures of the early processes.
During its formative decades photography responded to evolutionary
cultural forces of market and artistic production. Photographs of
architecture reflected a specific political or social context
modulated through individual points of view. For this reason, the
examination of each photographic image as a primary visual document
and an aesthetic object rather than a technical milestone on a
chronological trajectory affords a richer multi-faceted approach to
the extensive and complex corpus of photographs taken by
photographers all over the world. This project acknowledges the
importance of technique in the early decades of photography but
focuses on the thematic content of the material. It places the
photography of architecture in an international context under the
contemporary critical lens sharpened by theoretical and cultural
examinations of the topic.
This summer, Aperture presents a special issue focused on the
relationship between photography, urbanism, and activist
trajectories from Delhi. The issue explores multiple incarnations
of the city's photographic culture, from O. P. Sharma's
experimental works from the 1960s to Aditi Jain's intimate tableaux
of Delhi's trans community today. Interviews with revered writer
Arundhati Roy and with Bangladesh's best-known photojournalist,
Shahidul Alam, illuminate sites of protest in the city and
throughout South Asia. Skye Arundhati Thomas revisits Sheba
Chhachhi's feminist staged portraits from the 1980s and '90s.
Featuring a cross section of dynamic image-makers and thinkers,
such as Jyoti Dhar, Sunil Gupta, Ishan Tankha, and Anshika Varma,
and emerging voices Uzma Mohsin and Prarthna Singh, the issue is a
distinctive meditation on regionalism, politics, and identity,
through archival and contemporary photographic viewpoints.
Part of a series of exciting and luxurious Flame Tree Notebooks.
Combining high-quality production with magnificent fine art, the
covers are printed on foil in five colours, embossed, then foil
stamped. And they're powerfully practical: a pocket at the back for
receipts and scraps, two bookmarks and a solid magnetic side flap.
These are perfect for personal use and make a dazzling gift. This
example features Golden Buddha. Like in many other statues of
Buddha, the spiritual leader is shown in the lotus position used in
meditation. As one of the basic teachings of Buddhism, meditation
is a way of gaining insight into one's mind and achieving inner
calm. The practice has now spread widely, being utilised in yoga or
even as a technique to reduce the effects of depression and
anxiety.
Eadweard Muybridge is among the seminal originators of the
contemporary world's visual form. Projectionists examines mostly
unknown aspects of Muybridge's work: his period as a touring
projectionist who enthralled audiences with unprecedented
moving-images and his creation of a moving-image auditorium-long
before cinemas-in which to project his work at the 1893 World's
Columbian Exposition. That auditorium was both a catastrophe and a
vital precursor for the following century's manias for projection.
Based on new research into his travels, audiences, auditoria, and
projectors, Projectionists explores Muybridge's initiating role in
moving-image projection and also maps his driving inspiration for
subsequent filmmakers preoccupied with the volatile entity of
projection, from 1890s Berlin to contemporary Japan, via further
World's Exposition events and cinemas' overheated projection-boxes.
An indispensable guide to visual ethics, this book addresses the
need for critical thinking and ethical behavior among students and
professionals responsible for a variety of mass media visual
messages. Written for an ever-growing discipline, authors Paul
Martin Lester, Stephanie A. Martin, and Martin Rodden-Smith give
serious ethical consideration to the complex field of visual
communication. The book covers the definitions and uses of six
philosophies, analytical methods, cultural awareness, visual
reporting, documentary, citizen journalists, advertising, public
relations, typography, graphic design, data visualizations,
cartoons, motion pictures, television, computers and the web,
augmented and virtual reality, social media, the editing process,
and the need for empathy. At the end of each chapter are case
studies for further analysis and interviews with thoughtful
practitioners in each field of study, including Steven Heller and
Nigel Holmes. This second edition has also been fully revised and
updated throughout to reflect on the impact of new and emerging
technologies. This book is an important resource for students of
photojournalism, photography, filmmaking, media and communication,
and visual communication, as well as professionals working in these
fields.
Building on the vast research conducted on war and media since the
1970s, scholars are now studying the digital transformation of the
production of news. Little scholarly attention has been paid,
however, to non-professional, eyewitness visuals, even though this
genre holds a still greater bearing on the way conflicts are
fought, communicated, and covered by the news media. This volume
examines the power of new technologies for creating and
disseminating images in relation to conflicts. Mortensen presents a
theoretical framework and uses case studies to investigate the
impact of non-professional images with regard to essential issues
in today's media landscape: including new media technologies and
democratic change, the political mobilization and censorship of
images, the ethics of spectatorship, and the shifting role of the
mainstream news media in the digital age.
Taking its departure point from the 1933 surrealist photographs of
'involuntary sculptures' by Brassai and Dali, Found Sculpture and
Photography from Surrealism to Contemporary Art offers fresh
perspectives on the sculptural object by relating it to both
surrealist concerns with chance and the crucial role of photography
in framing the everyday. This collection of essays questions the
nature of sculptural practice, looking to forms of production and
reproduction that blur the boundaries between things that are made
and things that are found. One of the book's central themes is the
interplay of presence and absence in sculpture, as it is
highlighted, disrupted, or multiplied through photography's
indexical nature. The essays examine the surrealist
three-dimensional object, its relation to and transformation
through photographs, as well as the enduring legacies of such
concerns for the artwork's materiality and temporality in
performance and conceptual practices from the 1960s through the
present. Found Sculpture and Photography sheds new light on the
shifts in status of the art object, challenging the specificity of
visual practices, pursuing a radical interrogation of agency in
modern and contemporary practices, and exploring the boundaries
between art and everyday life.
Move over, Man Ray, there are new collage artists in town! Match
the contemporary works of 30 different artists and be inspired by
the colourful and comprehensive card deck. The Collage Memory Game
provides you with an insight into the broad art movement. Collage
is a technique of art production, primarily used in the visual
arts, where the artwork is made from an assemblage of different
forms, thus creating a new whole. It allowed artists to engage with
existing materials, to which they could assign new contexts in
order to create a brand new artwork. Ranging from newspapers and
magazines to maps, tickets, propaganda, photographs, ribbons,
postage stamps, paint, text and found objects, the elements of
collage participate in a handy creative process of putting artworks
together and even breaking them apart, in an artistic exploration
into the unknown. The origins of collage can be traced back
hundreds of years, but this technique made a dramatic reappearance
in the early 20th century as an art form of novelty.
Bestselling author and photographer Gray Malin’s new collection
of aerial beach photography, highlighting coastal locations from
around the worldA return to Gray Malin’s famed aerial beach
photography, Coastal celebrates the beaches of the United States,
from the East Coast to the West and Hawaii, as well as some
international beaches. This book includes stunning,
never-before-published photographs from the luminous waters of Maui
to the pebbled beaches of Northern Michigan to the idyllic shores
of Nantucket. Fans of Malin’s previous book, Beaches, will love
this new installment as he takes you on a journey to the secluded,
the celebrated, and the enchanting beaches of the United
States.Featured Locations:Midwest: Lake Michigan; ChicagoNortheast:
Maine; Cape Cod; New Jersey; Rhode Island; Block Island; The
Hamptons; Martha’s Vineyard; Nantucket; BostonSoutheast: Miami;
Palm Beach; Sea Island; JupiterSouthern California: Venice; Santa
Monica; San Diego; Laguna Beach; Newport Beach; Malibu; Manhattan
BeachNorthern California: San Francisco; Big Sur; Monterey; Carmel;
Pebble Beach; Lake TahoeHawaii: Oahu; Big Island; Kauai; Maui
International: Australia; New Zealand; St. Barths; Bora Bora;
Thailand
Sell your photos again and again! Live anywhere. Pick your hours.
Be your own boss. Earn more money. See your pictures in print.
Discover the freedom of a profitable photo business by learning the
secrets behind making and selling editorial stock photography. For
more than three decades, industry classic Sell & Re-Sell Your
Photos has been giving new and veteran photographers the tools to
sell their pictures consistently to markets they enjoy. Rohn Engh's
master text, with updates from independent photographer Mikael
Karlsson, outlines the time-tested formula for successfully
marketing your work to publishers world-wide. This completely
revised and expanded 6th edition features up-to-date advice, brand
new photos and charts and tables to help you achieve your goals.
Learn how to: Create enduring images--the ones photo buyers always
need Price your photos like a professional Find your niche and
corner that market Take and market your work with modern technology
Confidently submit to agencies and publishers Digitally store your
archive Protect yourself and your photos with basic copyright laws
and regulations Includes a detailed five-week action plan to get
you organized and selling Master the stock photography market: Take
pictures today that you can sell for many tomorrows to come!
This book is devoted to the phenomenon of removal of people
declared "public enemies" from group photographs in Stalin's
Russia. The book is based on long-term empirical research in
Russian archives and includes 57 photographs that are exceptional
in terms of historical interest: all these images bear traces of
editing in the form of various marks, such as blacking-out,
excisions or scratches. The illustrative materials also include a
group of photographs with inscriptions left by officers of Stalin's
secret police, the NKVD. To approach this extensive visual
material, Denis Skopin draws on a wealth of Stalin-era written
sources: memoirs, diaries and official documents. He argues that
this kind of political iconoclasm cannot be confused with
censorship nor vandalism. The practice in question is more
harrowing and morally twisted, for in most cases the photos were
defaced by those who were part of victim's intimate circle: his/her
colleagues, friends or even close family members. The book will be
of interest to scholars working in history of photography, art
history, visual culture, Russian studies and Russian history and
politics.
In Fundamentals of Forensic Photography, Keith Mancini and John
Sidoriak offer practical techniques for common situations
encountered in forensic documentation. Topics include equipment
selection, lighting techniques, crime scene and evidence
documentation, macro and micro photography as well as aerial, high
speed and computational photography. Techniques for photographic
documentation in both the laboratory and the field are discussed.
What is photography? Is it a source of knowledge or an art? Many
have said the former because it records the world automatically,
others the latter because it expresses human subjectivity. Can
photography be both or must we choose? In On Photography: A
Philosophical Inquiry, Diarmuid Costello examines these fascinating
questions and more, drawing on images by Alfred Stieglitz, Berenice
Abbott, Paul Strand, Lee Friedlander, James Welling, and Wolfgang
Tillmans, among others, and the writings of Elizabeth Eastlake,
Peter Henry Emerson, Edward Weston, Siegfried Kracauer, Andre
Bazin, and Stanley Cavell. This sets the scene for the contemporary
stand-off between "sceptical" and "non-sceptical" Orthodoxy in the
work of Roger Scruton and Kendall Walton, and a New Theory of
Photography taking its cue from Laszlo Moholy-Nagy and Patrick
Maynard. Written in a clear and engaging style, On Photography is
essential reading for anyone interested in the philosophy of
photography, aesthetics, art, and visual studies.
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