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Titre:
Hiroshi Sugimoto: Time machine

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$87.00
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Résumé:
Through his expansive exploration of the possibilities of still images, Hiroshi Sugimoto has created some of the most alluringly enigmatic photographs of our time—pictures that are meticulously crafted and deeply thought-provoking, familiar yet tantalizingly ambiguous. "Hiroshi Sugimoto: Time machine" is a comprehensive survey of work produced over the past five decades, featuring selections from all of Sugimoto’s major series, as well as lesser-known works that illuminate his innovative, conceptually driven approach to making pictures.

Titre:
Burning with desire : the conception of photography

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$36.50
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Résumé:
In this book, Geoffrey Batchen analyzes the desire to photograph as it emerged within the philosophical and scientific milieus that preceded the actual invention of photography.

Titre:
Burning with desire : the conception of photography

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$49.00
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Résumé:
In this book, Geoffrey Batchen analyzes the desire to photograph as it emerged within the philosophical and scientific milieus that preceded the actual invention of photography.

Titre:
Photography degree zero, reflections on Roland Barthes's camera lucida

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$34.99
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Résumé:
Roland Barthes's 1980 book Camera Lucida is perhaps the most influential book ever published on photography. The terms studium and punctum, coined by Barthes for two different ways of responding to photographs, are part of the standard lexicon for discussions of photography; Barthes's understanding of photographic time and the relationship he forges between photography and death have been invoked countless times in photographic discourse; and the current interest in vernacular photographs and the ubiquity of subjective, even novelistic, ways of writing about photography both owe something to Barthes.

Titre:
Photography degree zero: reflection on Roland Barthe's Camera Lucida

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$25.95
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Résumé:
Photography Degree Zero is the first anthology of writings on Roland Barthe's Camera Lucida. It includes essays written soon after Barthes’s book appeared as well as more recent rereadings of it, some previously unpublished. The variety of perspectives included in this publication, and the focus on Camera Lucida in the context of photography rather than literature or philosophy, servetoreopen a vital conversation on Barthes’s influential work.

Titre:
Michelle Van Parys: the way out west desert landscapes

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$41.50
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Résumé:
"Driving along the highways and byways of the Southwest and Interior West, Van Parys has noticed things that you or I might otherwise consider too trivial, too banal, to be worthy of further examination.... She makes us see things that would otherwise remain unseen. The final result is a poignant commentary not only on the desert landscapes to be found 'out west,' but also on the act of seeing the American West." - Geoffrey Batchen, author of Forget Me Not: Photography and Remembrance"

Titre:
Each wild idea : writing, photography, history

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$32.50
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Résumé:
In "Each Wild Idea", Geoffrey Batchen explores a wide range of photographic subjects, from the timing of the medium's invention to the various implications of cyberculture. Along the way, he reflects on contemporary art photography, the role of the vernacular in photography's history, and the Australianness of Australian photography. The essays all focus on a consideration of specific photographs--from a humble combination of baby photos and bronzed booties to a masterwork by Alfred Stieglitz. Although Batchen views each photograph within the context of broader social and political forces, he also engages its own distinctive formal attributes. In short, he sees photography as something that is simultaneously material and cultural. In an effort to evoke the lived experience of history, he frequently relies on sheer description as the mode of analysis, insisting that we look right at--rather than beyond--the photograph being discussed. A constant theme throughout the book is the question of photography's past, present, and future identity.

Titre:
The forms of nameless things

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$66.00
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Résumé:
William Henry Fox Talbot, the English inventor of photography, created around 15,000 photographs in the nineteenth century, most of them attempts to produce compelling scientific documents or pictorial records of the world around him. However, among those that have survived are also prints in which an image has been obscured, obliterated or simply failed to register. Borrowing its intriguing title from a poem written by Talbot, this book features twenty-four of these prints, his most experimental photographs. Originally intended as test prints or creative exercises, all that remains on these shaped pieces of photographic paper are chemical stains or imprinted patterns or shapes.

Titre:
Suspending time: Life - photography - death

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$49.99
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Résumé:
The magic of photography is its unique power to capture a moment in the past to be viewed in the present, to capture a subject suspended between life and death. This evocative, beautifully written catalog from Japan's Izu Photo Museum documents an inspired exhibition that looks into photography's mystical way of suspending time. Even with the relatively recent inclusion of vernacular photos in photography collections, the study of the art form has remained almost entirely Euro-centric. In Suspending Time, curator Geoffrey Batchen opens the door to using Japanese vernacular photos. With over 100 plates of cabinet cards, Daguerreotypes, photography jewelry, tintypes, Japanese ambrotypes, and Mexican sculptures.

Titre:
Each wild idea : writing, photography, history

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Prix:
$52.50
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Résumé:
In "Each Wild Idea", Geoffrey Batchen explores a wide range of photographic subjects, from the timing of the medium's invention to the various implications of cyberculture. Along the way, he reflects on contemporary art photography, the role of the vernacular in photography's history, and the Australianness of Australian photography. The essays all focus on a consideration of specific photographs--from a humble combination of baby photos and bronzed booties to a masterwork by Alfred Stieglitz. Although Batchen views each photograph within the context of broader social and political forces, he also engages its own distinctive formal attributes. In short, he sees photography as something that is simultaneously material and cultural. In an effort to evoke the lived experience of history, he frequently relies on sheer description as the mode of analysis, insisting that we look right at--rather than beyond--the photograph being discussed. A constant theme throughout the book is the question of photography's past, present, and future identity.