Soviet metro stations
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Canadian photographer Christopher Herwig has completed a subterranean expedition photographing the stations of each Metro network of the former USSR. From extreme marble and chandelier opulence to brutal futuristic minimalist glory, 'Soviet Metro Stations' documents this wealth of diverse architecture.
Soviet metro stations
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Canadian photographer Christopher Herwig has completed a subterranean expedition photographing the stations of each Metro network of the former USSR. From extreme marble and chandelier opulence to brutal futuristic minimalist glory, 'Soviet Metro Stations' documents this wealth of diverse architecture.
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This place
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“This Place” is a monumental photographic project that explores Israel and the West Bank, as place and metaphor, through the eyes of 10 internationally celebrated photographers: Frédéric Brenner, Wendy Ewald, Martin Kollar, Josef Koudelka, Jungjin Lee, Stephen Shore, Rosalind Fox Solomon, Thomas Struth, Jeff Wall and Nick Waplington. Their photographs question the(...)
This place
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“This Place” is a monumental photographic project that explores Israel and the West Bank, as place and metaphor, through the eyes of 10 internationally celebrated photographers: Frédéric Brenner, Wendy Ewald, Martin Kollar, Josef Koudelka, Jungjin Lee, Stephen Shore, Rosalind Fox Solomon, Thomas Struth, Jeff Wall and Nick Waplington. Their photographs question the history, the divisions and paradoxes of the region and its inhabitants. From the photographers’ differing visual vocabularies, nationalities and cultural backgrounds, the picture that emerges is not a single, monolithic vision but rather a diverse and fragmented portrait.
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Cet ouvrage présente les plus grands photographes des XXe et XXIe siècles et nous raconte l'histoire de leurs clichés les plus emblématiques, devenus images iconiques du siècle dernier : ''Migrant Mother,'' de Dorothea Lange, ''Mort d'un soldat républicain,'' de Robert Capa, ''Le Baiser de l'Hôtel de ville,'' de Robert Doisneau... Cette publication nous raconte aussi et(...)
Photographes : ills ont marqué leur siècle
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Cet ouvrage présente les plus grands photographes des XXe et XXIe siècles et nous raconte l'histoire de leurs clichés les plus emblématiques, devenus images iconiques du siècle dernier : ''Migrant Mother,'' de Dorothea Lange, ''Mort d'un soldat républicain,'' de Robert Capa, ''Le Baiser de l'Hôtel de ville,'' de Robert Doisneau... Cette publication nous raconte aussi et surtout l'histoire de ces hommes et de ces femmes qui, armés de leur seul appareil photo, se sont engagés pleinement dans leur art, ont parcouru le monde et ont souvent risqué leur vie pour saisir avec génie l'essence de leur époque et nous transmettre leurs émotions, leurs indignations et leurs espoirs.
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"The Canadians" playfully and affectionately reimagines one of the most revered photography books of the 20th century, Robert Frank’s The Americans. The source for the imagery is the print archive of The Globe and Mail, which contains more than 500,000 prints—24,000 of which have been donated to the newly formed Canadian Institute of Photography, housed within the(...)
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septembre 2017
The Canadians: photographs from the Globe and Mail archives
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"The Canadians" playfully and affectionately reimagines one of the most revered photography books of the 20th century, Robert Frank’s The Americans. The source for the imagery is the print archive of The Globe and Mail, which contains more than 500,000 prints—24,000 of which have been donated to the newly formed Canadian Institute of Photography, housed within the National Gallery of Canada. Nearly 80 of these photographs have been selected for this book, and also form the basis for a national touring exhibition. These functionary press photographs, made to illustrate news stories—the state of the roads after a severe winter; a politician on the campaign trail; the opening of a new laundromat—hold no pretentions to be works of photographic art. However, taken together, they describe Canadian culture during an era of great transformation. Published in association with the Archive of Modern Conflict, the book begins with an insightful and irreverent introduction by Douglas Coupland, bringing together themes illuminated in these photographs, and taking us on a guided tour of a Canada gone, but not forgotten. "How strange it is to look at these photos of a Canada that was almost dead when I was a child," he writes, "the Canada of my parents and my grandparents, the Canada of the late 1950s and early ‘60s, a country in which, it would seem, people were born, became teenagers, and then, magically, at the age of 21, turned into chain-smoking 50-year olds with undiagnosed cancers."
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One pairs artists and writers to think about this question. Eight photographers: Marco Breuer, Thomas Joshua Cooper, John Gossage, Trevor Paglen, Alison Rossiter, Victoria Sambunaris, Rebecca Norris Webb and James Welling were asked to submit one image on the theme of minimalism. Eight writers David Campany, Teju Cole, Christie Davis, John D’Agata, Michael Fried, Darius(...)
One. David Campany, Teju Cole, Christie David, John D'Agata, Michael Fried, Darius Himes
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One pairs artists and writers to think about this question. Eight photographers: Marco Breuer, Thomas Joshua Cooper, John Gossage, Trevor Paglen, Alison Rossiter, Victoria Sambunaris, Rebecca Norris Webb and James Welling were asked to submit one image on the theme of minimalism. Eight writers David Campany, Teju Cole, Christie Davis, John D’Agata, Michael Fried, Darius Himes, Leah Ollman and Laura Steward were enlisted to respond to those submissions, each paired with a specific image. The results offer a probing assessment of Antoine de Saint-Exupery’s maxim: “Perfection is achieved, not when there is nothing more to add, but when there is nothing left to take away.”
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The photographic I
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Catalog accompanying the first part of a diptych exhibition in S.M.A.K., Ghent, spread over two years, curated by Martin Germann with Tanja Boon and Steven Humblet. The exhibition comprises new and existing work by artists and photographers including Lewis Baltz, Tina Barney, Mohamed Bourouissa, Moyra Davey, Marc De Blieck, Sara Deraedt, Patrick Faigenbaum, Peter Fraser,(...)
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décembre 2017
The photographic I
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Catalog accompanying the first part of a diptych exhibition in S.M.A.K., Ghent, spread over two years, curated by Martin Germann with Tanja Boon and Steven Humblet. The exhibition comprises new and existing work by artists and photographers including Lewis Baltz, Tina Barney, Mohamed Bourouissa, Moyra Davey, Marc De Blieck, Sara Deraedt, Patrick Faigenbaum, Peter Fraser, Alair Gomes, Jitka Hanzlová, Roni Horn, Stephanie Kiwitt, Aglaia Konrad, Jochen Lempert, Zoe Leonard, Jean-Luc Moulène, Zanele Muholi, Jean-Luc Mylayne, Trevor Paglen, Doug Rickard, Torbjørn Rødland, Michael Schmidt, Arne Schmitt, Allan Sekula, Ahlam Shibli, Malick Sidibé, Dayanita Singh, Wolfgang Tillmans, Marc Trivier and Tobias Zielony. The selection, ranging from the 1960s to the present, demonstrates a lively interest in the power of the still image as a means of examining the world. It concentrates on indefinable images with an open view, whose multi-layering requires slow reading. With an introduction by Martin Germann and Philippe Van Cauteren, and an essay by Steven Humblet in Dutch and English.
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Inspired and guided by Bernd and Hiller Becher, themselves pioneers in the area of documentary photography, the artists of Germany’s Düsseldorf School not only pushed the boundaries of their teachers’ practice, but also ushered in three generations of technical and compositional achievement that is rivalled in importance only by the arrival of colour photography. This(...)
The Düsseldorf School of Photography
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Inspired and guided by Bernd and Hiller Becher, themselves pioneers in the area of documentary photography, the artists of Germany’s Düsseldorf School not only pushed the boundaries of their teachers’ practice, but also ushered in three generations of technical and compositional achievement that is rivalled in importance only by the arrival of colour photography. This book introduces readers to the historic, cultural, and scientific environments in which the Bechers’ practice thrived. It explores the teaching philosophies with which they encouraged their students, and considers the qualities that highlight the Düsseldorf School: intricate detail, large scale, painterly distance combined with an immersive quality. The plate section, organized by artist, features 160 images by Andreas Gursky, Thomas Struth, Thomas Ruff, Candida Höfer, Axel Hütte, Laurenz Berges, Elger Esser, Simone Nieweg, Jörg Sasse, and Petra Wunderlich.
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Featuring photographs by Joachim Brohm, Michael Disqué, Klaus Frahm, Andreas Gehrke, John Gossage, Volker Heinze, Kai-Olaf Hesse, Lockemann/Neudörfl, Margret Nissen and Michael Schmidt. The "Topography of terror" is a one of the most significant memorial sites of recent times. How is the past inscribed in the landscape? How do we regard a place that once housed the(...)
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septembre 2019
Land's end: The 'Topography of Terror'. Site as reflected in contemporary photography
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Featuring photographs by Joachim Brohm, Michael Disqué, Klaus Frahm, Andreas Gehrke, John Gossage, Volker Heinze, Kai-Olaf Hesse, Lockemann/Neudörfl, Margret Nissen and Michael Schmidt. The "Topography of terror" is a one of the most significant memorial sites of recent times. How is the past inscribed in the landscape? How do we regard a place that once housed the central instruments of terror of the Nazi regime? How has this no-man’s-land, once at the frontier of East and West, changed over time? "Land’s end" features ten artists who photographed what is now the Topography of Terror site between 1981 und 2014, including John Gossage, Michael Schmidt and Joachim Brohm.
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France experienced a golden age of photobook production from the late 1920s through the 1950s. Avant-garde experiments in photography, text, design, and printing, within the context of a growing modernist publishing scene, contributed to an outpouring of brilliantly designed books. Making Strange offers a detailed examination of photobook innovation in France, exploring(...)
Making strange: the modernist photobook in France
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France experienced a golden age of photobook production from the late 1920s through the 1950s. Avant-garde experiments in photography, text, design, and printing, within the context of a growing modernist publishing scene, contributed to an outpouring of brilliantly designed books. Making Strange offers a detailed examination of photobook innovation in France, exploring seminal publications by Brassaï, Henri Cartier-Bresson, Robert Frank, Pierre Jahan, William Klein, and Germaine Krull. Kim Sichel argues that these books both held a mirror to their time and created an unprecedented modernist visual language. Sichel provides an engaging analysis through the lens of materiality, emphasizing the photobook as an object with which the viewer interacts haptically as well as visually. Rich in historical context and beautifully illustrated, 'Making Strange' reasserts the role of French photobooks in the history of modern art.
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Une enquête photographique collective sur le sentiment d’appartenance à un territoire. Que signifie « être d’ici »? Partant du constat d’une société toujours plus fragmentée socialement et territorialement, le collectif de photographes LesAssociés a mené à l’échelle de la région Nouvelle-Aquitaine, une enquête qui vise à élargir cette question identitaire. Et si, à(...)
D'ici, ça ne paraît pas si loin
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Une enquête photographique collective sur le sentiment d’appartenance à un territoire. Que signifie « être d’ici »? Partant du constat d’une société toujours plus fragmentée socialement et territorialement, le collectif de photographes LesAssociés a mené à l’échelle de la région Nouvelle-Aquitaine, une enquête qui vise à élargir cette question identitaire. Et si, à l’heure des nouveaux ensembles – régions, Europe –, nos identités étaient multiples? « D’ici, ça ne paraît pas si loin » invite à trois voyages – géographique, temporel et affectif –, autour de trois questions : quelle ruralité à l’ère des métropoles? quel horizon pour chacun? d’où se raconte l’histoire qu’un territoire inspire? S'incarnant dans une géographie abstraite qui dépasse les frontières du Sud-Ouest, ce livre mêle textes et images en renouvelant les idées de faire culture et de faire société.
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