The forms of nameless things
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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.(...)
The forms of nameless things
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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.
Monographies photo
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When William Eggleston’s second artist’s book Morals of Vision was first published in 1978 in a limited edition of 15, only a handful of lucky people were able to obtain it; it has since become a collectible rarity. That is now to change with this new Steidl edition, which includes an extra photo not used in the original edit. The original Morals of Vision contains eight(...)
William Eggleston: morals of vision
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When William Eggleston’s second artist’s book Morals of Vision was first published in 1978 in a limited edition of 15, only a handful of lucky people were able to obtain it; it has since become a collectible rarity. That is now to change with this new Steidl edition, which includes an extra photo not used in the original edit. The original Morals of Vision contains eight color coupler prints of Eggleston’s archetypal still lifes, landscapes and portraits which glorify the banal and have since changed the history of color photography. “There is no particular reason to search for meaning,” Eggleston has said of his work in general, a sentiment in contrast with the title Morals of Vision which suggests that there are indeed principles of a kind to be learnt from the images in this book. Yet the lessons in photos including those of a broom leaning again a wall, green grain silos in the fading light, and an off-center electric candle complete with fake wax, remain Eggleston’s own ironic secret. 9 color photographs printed on Phoenixmotion Xantur 115gsm paper from Scheufelen paper mill, mounted on Somerset Book 115gsm paper from St. Cuthbert Mill with PVA adhesive. The type, has been set in Berthold Quality Bemba and Perpetua, in reference to Katy Homans’ original design for William Eggleston´s 1978 book.
Monographies photo
Hélio Oiticica
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A concise introduction to the pioneering formal and social innovations of the Neoconcretist and Tropicália protagonist. Brazilian artist Hélio Oiticica’s oeuvre remains an indisputable influence on all aspects of avant-garde culture in his home country and abroad, from visual art to music, theater, literature and beyond. This volume demonstrates the numerous ways in which(...)
août 2021
Hélio Oiticica
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A concise introduction to the pioneering formal and social innovations of the Neoconcretist and Tropicália protagonist. Brazilian artist Hélio Oiticica’s oeuvre remains an indisputable influence on all aspects of avant-garde culture in his home country and abroad, from visual art to music, theater, literature and beyond. This volume demonstrates the numerous ways in which Oiticica’s work explored and expanded formal artistic modes, pushing past the boundaries of color and structure. Oiticica prioritized the inclusive and participatory possibilities of art, represented through his forays into environmental art and interactive installation. Large-scale projects such as his monumental installation Tropicália (1966–67), which satirizes the idea of Brazil as a tropical paradise, are documented alongside his works on paper and textile pieces. The text traces the evolution of Oiticica’s multidisciplinary practice and underlines the cosmological ideas that guided his approach to art and life, demonstrating the profound impact Oiticica's ideas had on the wider art world, both past and present.
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Part of the Architectural Papers series, The Middle East explores the architecture of a nearly paradoxical region. Both the cradle of culture, where much remains of thousands of years of human society, the Middle East is also an area of great flux in contemporary history. This volume explores this dichotomy in three sections. The first, “Beyond the View,” investigates(...)
Middle East: landscape, city, architecture
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Part of the Architectural Papers series, The Middle East explores the architecture of a nearly paradoxical region. Both the cradle of culture, where much remains of thousands of years of human society, the Middle East is also an area of great flux in contemporary history. This volume explores this dichotomy in three sections. The first, “Beyond the View,” investigates notions of the Middle Eastern architecture through a comparative study of different parts of the Arab world. “Case Studies” focuses on three exceptionally different cities—Beirut, Amman, and Doha—through an investigation of recent and future building projects. The final chapter, “Limits” looks at the architectural practices of countries that constitute the geographic, cultural, and political limits of the region: Israel, Turkey, and Iran.
Arch Moyen-Orient
livres
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Thirty or so years ago, architecture changed. A strong desire to explore the artistic and humanistic side of the practice pushed it onto paper and into installations; "paper architecture" became the locus for the avantgarde. In recognition of this, the Canada Council for the Arts established the Prix de Rome in Architecture. During the years the Prix de Rome was in(...)
Le Prix de Rome en architecture : une retrospective / a retrospective
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Thirty or so years ago, architecture changed. A strong desire to explore the artistic and humanistic side of the practice pushed it onto paper and into installations; "paper architecture" became the locus for the avantgarde. In recognition of this, the Canada Council for the Arts established the Prix de Rome in Architecture. During the years the Prix de Rome was in place, from 1987 to 2003, some of Canada’s most important architects were given the opportunity to explore a more theoretical and experimental practice. Their projects, however, were not well disseminated and remain unknown to most of the architectural community. By reproducing the work of each of the Prix de Rome laureates, this book hopes to introduce this important work to a broader artistic community. To contextualize the work and its influence on a generation of architects, each of the documented projects also includes an exploratory text by the laureate who created it and traces the trajectory of that laureate’s career since that time. Critical essays by Gary Michael Dault, Daniel M. Millette and Marco Polo consider the interface between art and architecture that the Prix de Rome has encouraged and explore the issues, ideas and representational methods from contemporary art that influence speculative architectural practice. Laureates include John Shnier, Jacques Rousseau, Sophie Charlebois, Hal Ingberg, Dereck Revington, John McMinn, Hal Ingberg, Anthony Robins, Philip Beesley, Philippe Lupien, Pierre Thibault, Atelier Big City, Peter Yeadon, Jason King and George Yu, Atelier In Situ, and Andrew King. Each project is fully documented with extensive colour photographs and illustrations, and the accompanying text appears in both English and French.
livres
février 2007, Toronto
Architecture du Canada
livres
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The towns and cities that we inhabit are the survivors of a much larger world that was never built--of visions of the future that remain on paper due to lack of funds, political changes, or because they were technically ahead of their time. How might the world look today had the realities of history been different? And how close will the architecture of the future be to(...)
Architecture et l'imaginaire
mai 2004, London
Fantasy architecture 1500-2036
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The towns and cities that we inhabit are the survivors of a much larger world that was never built--of visions of the future that remain on paper due to lack of funds, political changes, or because they were technically ahead of their time. How might the world look today had the realities of history been different? And how close will the architecture of the future be to that already familiar from science fiction films and the fantastic virtual environments of computer games? "Fantasy Architecture" proposes answers to these questions by focusing on 130 imagined buildings, structures, and schemes from the late medieval period to the present. Artists and architects include Robert Adam, Archigram, Charles Barry, Étienne-Louis Boullée, William Chambers, FAT, Foreign Office Architects, Foster and Partners, Ernö Goldfinger, Louis Hellman, Inigo Jones, Berthold Lubetkin, Edwin Lutyens, Eric Mendelsohn, Nils Norman, Claes Oldenburg, Joseph Paxton, Sir John Soane, Softroom and Paolo Soleri.~Essayists include Neil Bingham, previously Assistant Curator of the Royal Institute of British Architecture (RIBA) Drawings Collections, London and author of monographs on Christopher Nicholson and C.A. Busby; Clare Carolin, Exhibitions Curator at the Hayward Gallery in London; Rob Wilson, Curator at the RIBA Gallery; and architect Peter Cook, professor at the Bartlett School of Architecture and former member of the group Archigram, who offers a personal text.
livres
mai 2004, London
Architecture et l'imaginaire
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When Swedish artist Hilma af Klint died in 1944 at the age of 81, she left behind more than 1,000 paintings and works on paper that she had kept largely private during her lifetime. Believing the world was not yet ready for her art, she stipulated that it should remain unseen for another 20 years. But only in recent decades has the public had a chance to reckon with af(...)
Hilma af Klint: paintings for the future
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When Swedish artist Hilma af Klint died in 1944 at the age of 81, she left behind more than 1,000 paintings and works on paper that she had kept largely private during her lifetime. Believing the world was not yet ready for her art, she stipulated that it should remain unseen for another 20 years. But only in recent decades has the public had a chance to reckon with af Klint's radically abstract painting practice — one which predates the work of Vasily Kandinsky and other artists widely considered trailblazers of modernist abstraction. Accompanying the first major survey exhibition of the artist's work in the United States, 'Hilma af Klint: Paintings for the Future' represents her groundbreaking painting series while expanding recent scholarship to present the fullest picture yet of her life and art. Essays explore the social, intellectual and artistic context of af Klint's 1906 break with figuration and her subsequent development, placing her in the context of Swedish modernism and folk art traditions, contemporary scientific discoveries, and spiritualist and occult movements.