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From his images of the Chateau of Versailles under restoration to the faded grandeur of Havana, to scenes of devastation from Chernobyl after the nuclear explosion and a New Orleans ravaged by Hurricane Katrina, Robert Polidori is drawn to detritus, shattered worlds and elegant ruin. Often considered an architectural photographer, Polidori captures more than buildings:(...)
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From his images of the Chateau of Versailles under restoration to the faded grandeur of Havana, to scenes of devastation from Chernobyl after the nuclear explosion and a New Orleans ravaged by Hurricane Katrina, Robert Polidori is drawn to detritus, shattered worlds and elegant ruin. Often considered an architectural photographer, Polidori captures more than buildings:(...)
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Robert Polidori: chronophagia
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From his images of the Chateau of Versailles under restoration to the faded grandeur of Havana, to scenes of devastation from Chernobyl after the nuclear explosion and a New Orleans ravaged by Hurricane Katrina, Robert Polidori is drawn to detritus, shattered worlds and elegant ruin. Often considered an architectural photographer, Polidori captures more than buildings: his highly detailed views of interiors evoke both the intimate and the mysterious, where in the humanity of these photos is felt in its very absence, in the traces left behind in vacant spaces once inhabited. Chronophagia is a sampling of Polidori's many famous projects. This volume contains the artist's own selection of more than 100 photographs, from the classics to several rarely seen images. The result is a beautifully edited compendium of Polidori's 28-year career and a visual exploration of the liminal space between past and present, of worlds on the brink of disappearance.
Robert Polidori: chronophagia
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From his images of the Chateau of Versailles under restoration to the faded grandeur of Havana, to scenes of devastation from Chernobyl after the nuclear explosion and a New Orleans ravaged by Hurricane Katrina, Robert Polidori is drawn to detritus, shattered worlds and elegant ruin. Often considered an architectural photographer, Polidori captures more than buildings: his highly detailed views of interiors evoke both the intimate and the mysterious, where in the humanity of these photos is felt in its very absence, in the traces left behind in vacant spaces once inhabited. Chronophagia is a sampling of Polidori's many famous projects. This volume contains the artist's own selection of more than 100 photographs, from the classics to several rarely seen images. The result is a beautifully edited compendium of Polidori's 28-year career and a visual exploration of the liminal space between past and present, of worlds on the brink of disappearance.
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livres
livres
Publication:
novembre 2014
novembre 2014
Sujet:
Monographies photo
Monographies photo
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livres
livres
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Deep below the ground in Tucson, Arizona, lies an aquifer forever altered by the detritus of a postwar Superfund site. "Disabled ecologies" tells the story of this contamination and its ripple effects through the largely Mexican American community living above. Drawing on her own complex relationship to this long-ago injured landscape, Sunaura Taylor takes us with her to(...)
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Deep below the ground in Tucson, Arizona, lies an aquifer forever altered by the detritus of a postwar Superfund site. "Disabled ecologies" tells the story of this contamination and its ripple effects through the largely Mexican American community living above. Drawing on her own complex relationship to this long-ago injured landscape, Sunaura Taylor takes us with her to(...)
Titre:
Disabled ecologies: Lessons from a wounded desert
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Deep below the ground in Tucson, Arizona, lies an aquifer forever altered by the detritus of a postwar Superfund site. "Disabled ecologies" tells the story of this contamination and its ripple effects through the largely Mexican American community living above. Drawing on her own complex relationship to this long-ago injured landscape, Sunaura Taylor takes us with her to follow the site's disabled ecology—the networks of disability, both human and wild, that are created when ecosystems are corrupted and profoundly altered. What Taylor finds is a story of entanglements that reach far beyond the Sonoran Desert. These stories tell of debilitating and sometimes life-ending injuries, but they also map out alternative modes of connection, solidarity, and resistance—an environmentalism of the injured. An original and deeply personal reflection on what disability means in an era of increasing multispecies disablement, "Disabled ecologies" is a powerful call to reflect on the kinds of care, treatment, and assistance this age of disability requires.
Disabled ecologies: Lessons from a wounded desert
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Deep below the ground in Tucson, Arizona, lies an aquifer forever altered by the detritus of a postwar Superfund site. "Disabled ecologies" tells the story of this contamination and its ripple effects through the largely Mexican American community living above. Drawing on her own complex relationship to this long-ago injured landscape, Sunaura Taylor takes us with her to follow the site's disabled ecology—the networks of disability, both human and wild, that are created when ecosystems are corrupted and profoundly altered. What Taylor finds is a story of entanglements that reach far beyond the Sonoran Desert. These stories tell of debilitating and sometimes life-ending injuries, but they also map out alternative modes of connection, solidarity, and resistance—an environmentalism of the injured. An original and deeply personal reflection on what disability means in an era of increasing multispecies disablement, "Disabled ecologies" is a powerful call to reflect on the kinds of care, treatment, and assistance this age of disability requires.
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livres
livres
Publication:
avril 2024
avril 2024
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livres
livres
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Recalling the short-lived Bureau de recherches surréalistes of 1924–1925 - part information centre and ‘public relations’ office, and part surrealist archive - Mark Dion has trawled the Manchester Museum’s own collections and found the raw material for this book and a new installation in the museum. Museums’ attempts to classify and present the world in miniature(...)
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Recalling the short-lived Bureau de recherches surréalistes of 1924–1925 - part information centre and ‘public relations’ office, and part surrealist archive - Mark Dion has trawled the Manchester Museum’s own collections and found the raw material for this book and a new installation in the museum. Museums’ attempts to classify and present the world in miniature(...)
Titre:
Bureau of the Centre for the Study of Surrealism and its Legacy
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Recalling the short-lived Bureau de recherches surréalistes of 1924–1925 - part information centre and ‘public relations’ office, and part surrealist archive - Mark Dion has trawled the Manchester Museum’s own collections and found the raw material for this book and a new installation in the museum. Museums’ attempts to classify and present the world in miniature inevitably mean that much of their collections are forgotten and marginalized. Renowned for his work exploring taxonomy, archaeology and ecology, Mark Dion in his "Bureau" documents his opportunistic encounters with the Museum of Manchester’s neglected drawers and overlooked recesses that are home to redundant labels, orphaned mounts, defunct teaching models, botanical freaks, Egyptian fakes and the minutiae that have fallen through the cracks of museum practice and lain abandoned. Dion’s "Bureau of the Centre for the Study of Surrealism and its Legacy" is both a repository for the detritus of museum life and a working process, classifying the museum’s un-classifiable whilst exploring the bureaucratic workings of the institution.
Bureau of the Centre for the Study of Surrealism and its Legacy
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Recalling the short-lived Bureau de recherches surréalistes of 1924–1925 - part information centre and ‘public relations’ office, and part surrealist archive - Mark Dion has trawled the Manchester Museum’s own collections and found the raw material for this book and a new installation in the museum. Museums’ attempts to classify and present the world in miniature inevitably mean that much of their collections are forgotten and marginalized. Renowned for his work exploring taxonomy, archaeology and ecology, Mark Dion in his "Bureau" documents his opportunistic encounters with the Museum of Manchester’s neglected drawers and overlooked recesses that are home to redundant labels, orphaned mounts, defunct teaching models, botanical freaks, Egyptian fakes and the minutiae that have fallen through the cracks of museum practice and lain abandoned. Dion’s "Bureau of the Centre for the Study of Surrealism and its Legacy" is both a repository for the detritus of museum life and a working process, classifying the museum’s un-classifiable whilst exploring the bureaucratic workings of the institution.
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livres
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Publication:
avril 2005, London
avril 2005, London
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This book compiles Frank Day's multivalent series of photographs of Bangkok's battered public phone booths. Seen as if magnets for the detritus of daily life in a metropolis, Day's intimate yet subtly epic images register traces of the demands that govern our urban existence: postings for job adverts, signs of commercial pleasure, and listings for entertainment(...)
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This book compiles Frank Day's multivalent series of photographs of Bangkok's battered public phone booths. Seen as if magnets for the detritus of daily life in a metropolis, Day's intimate yet subtly epic images register traces of the demands that govern our urban existence: postings for job adverts, signs of commercial pleasure, and listings for entertainment(...)
Titre:
Frank Hallam Day, Call waiting: Bangkok phone booths
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This book compiles Frank Day's multivalent series of photographs of Bangkok's battered public phone booths. Seen as if magnets for the detritus of daily life in a metropolis, Day's intimate yet subtly epic images register traces of the demands that govern our urban existence: postings for job adverts, signs of commercial pleasure, and listings for entertainment spectacles, or social advancement opportunities. Many of the markings in the booths are tags by graffiti artists and also messages left by street protestors during the recent years of Thailand's political meltdown. Call Waiting is not a sociological document of the type that maps the rich contrasts of a contemporary Asian city. Rather, Day's formalism cultivates intense moods and surprising resonances, touched by a noir sensibility of abandonment, neglect and mystery. (Brian Curtin) Frank Hallam Day lives in Washington DC. He won the 2012 Leica Oskar Barnack Prize for the series Nocturnal (published by Kehrer 2012), among other awards. His work has been widely exhibited and is in the collections of Berlinische Galerie und Landesmuseum Berlin, Baltimore Museum of Art, Portland Art Museum, Corcoran Gallery, San Diego Museum of Photographic Arts, and others.
Frank Hallam Day, Call waiting: Bangkok phone booths
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This book compiles Frank Day's multivalent series of photographs of Bangkok's battered public phone booths. Seen as if magnets for the detritus of daily life in a metropolis, Day's intimate yet subtly epic images register traces of the demands that govern our urban existence: postings for job adverts, signs of commercial pleasure, and listings for entertainment spectacles, or social advancement opportunities. Many of the markings in the booths are tags by graffiti artists and also messages left by street protestors during the recent years of Thailand's political meltdown. Call Waiting is not a sociological document of the type that maps the rich contrasts of a contemporary Asian city. Rather, Day's formalism cultivates intense moods and surprising resonances, touched by a noir sensibility of abandonment, neglect and mystery. (Brian Curtin) Frank Hallam Day lives in Washington DC. He won the 2012 Leica Oskar Barnack Prize for the series Nocturnal (published by Kehrer 2012), among other awards. His work has been widely exhibited and is in the collections of Berlinische Galerie und Landesmuseum Berlin, Baltimore Museum of Art, Portland Art Museum, Corcoran Gallery, San Diego Museum of Photographic Arts, and others.
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livres
livres
Publication:
avril 2017
avril 2017
Sujet:
Monographies photo
Monographies photo
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livres
livres
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In the 15th century the ideas of the great Renaissance artists required the attentions of engineers and artisans to construct and explain the dynamics of their ambitious works. Leonardo da Vinci's helicopter was built in a studio; very probably his submarine was also built. Today that endeavour and enquiry is represented by Mike Smith, whose studio in the Old Kent Road in(...)
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In the 15th century the ideas of the great Renaissance artists required the attentions of engineers and artisans to construct and explain the dynamics of their ambitious works. Leonardo da Vinci's helicopter was built in a studio; very probably his submarine was also built. Today that endeavour and enquiry is represented by Mike Smith, whose studio in the Old Kent Road in(...)
Publication:
janvier 1900, London
janvier 1900, London
Titre:
Making art work : the Mike Smith Studio
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In the 15th century the ideas of the great Renaissance artists required the attentions of engineers and artisans to construct and explain the dynamics of their ambitious works. Leonardo da Vinci's helicopter was built in a studio; very probably his submarine was also built. Today that endeavour and enquiry is represented by Mike Smith, whose studio in the Old Kent Road in London furnishes the architecture for the most pressing installations and sculptures of young British artists. He is the carborundum that enables the best artists working in Britain today to realize their work - Rachel Whiteread's monument in Trafalgar Square is a testament to his work. The painter Patsy Craig has unravelled the activities of the Mike Smith Studios, including the symbiosis of the studio with the process of creation of such artists as Damien Hirst, Mona Hatoum, Keith Tyson, Darren Almond and Mark Wallinger. She has collected from the Studio's archives, along with the detritus, the correspondence, notes, ideas, failures and successes of these and other artists at the studio. They are a diary and vade mecum of the construction of a significant theory in current British art. It is an assembly of the very templates of the thinking, design and creation of art in Britain today.
Making art work : the Mike Smith Studio
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In the 15th century the ideas of the great Renaissance artists required the attentions of engineers and artisans to construct and explain the dynamics of their ambitious works. Leonardo da Vinci's helicopter was built in a studio; very probably his submarine was also built. Today that endeavour and enquiry is represented by Mike Smith, whose studio in the Old Kent Road in London furnishes the architecture for the most pressing installations and sculptures of young British artists. He is the carborundum that enables the best artists working in Britain today to realize their work - Rachel Whiteread's monument in Trafalgar Square is a testament to his work. The painter Patsy Craig has unravelled the activities of the Mike Smith Studios, including the symbiosis of the studio with the process of creation of such artists as Damien Hirst, Mona Hatoum, Keith Tyson, Darren Almond and Mark Wallinger. She has collected from the Studio's archives, along with the detritus, the correspondence, notes, ideas, failures and successes of these and other artists at the studio. They are a diary and vade mecum of the construction of a significant theory in current British art. It is an assembly of the very templates of the thinking, design and creation of art in Britain today.
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livres
livres
Publication:
janvier 1900, London
janvier 1900, London
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livres
livres
Titre:
Black landscapes matter
Black landscapes matter
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The question "Do black landscapes matter?" cuts deep to the core of American history. From the plantations of slavery to contemporary segregated cities, from freedman villages to northern migrations for freedom, the nation’s landscape bears the detritus of diverse origins. Black landscapes matter because they tell the truth. In this vital new collection, acclaimed(...)
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The question "Do black landscapes matter?" cuts deep to the core of American history. From the plantations of slavery to contemporary segregated cities, from freedman villages to northern migrations for freedom, the nation’s landscape bears the detritus of diverse origins. Black landscapes matter because they tell the truth. In this vital new collection, acclaimed(...)
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Black landscapes matter
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The question "Do black landscapes matter?" cuts deep to the core of American history. From the plantations of slavery to contemporary segregated cities, from freedman villages to northern migrations for freedom, the nation’s landscape bears the detritus of diverse origins. Black landscapes matter because they tell the truth. In this vital new collection, acclaimed landscape designer and public artist Walter Hood assembles a group of notable landscape architecture and planning professionals and scholars to probe how race, memory, and meaning intersect in the American landscape. Essayists examine a variety of U.S. places— ranging from New Orleans and Charlotte to Milwaukee and Detroit— exposing racism endemic in the built environment and acknowledging the widespread erasure of black geographies and cultural landscapes. Through a combination of case studies, critiques, and calls to action, contributors reveal the deficient, normative portrayals of landscape that affect communities of color and question how public design and preservation efforts can support people in these places. In a culture in which historical omissions and specious narratives routinely provoke disinvestment in minority communities, creative solutions by designers, planners, artists, and residents are necessary to activate them in novel ways. Black people have built and shaped the American landscape in ways that can never be fully known. ''Black landscapes matter'' is a timely and necessary reminder that without recognizing and reconciling these histories and spaces, America’s past and future cannot be understood.
Black landscapes matter
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The question "Do black landscapes matter?" cuts deep to the core of American history. From the plantations of slavery to contemporary segregated cities, from freedman villages to northern migrations for freedom, the nation’s landscape bears the detritus of diverse origins. Black landscapes matter because they tell the truth. In this vital new collection, acclaimed landscape designer and public artist Walter Hood assembles a group of notable landscape architecture and planning professionals and scholars to probe how race, memory, and meaning intersect in the American landscape. Essayists examine a variety of U.S. places— ranging from New Orleans and Charlotte to Milwaukee and Detroit— exposing racism endemic in the built environment and acknowledging the widespread erasure of black geographies and cultural landscapes. Through a combination of case studies, critiques, and calls to action, contributors reveal the deficient, normative portrayals of landscape that affect communities of color and question how public design and preservation efforts can support people in these places. In a culture in which historical omissions and specious narratives routinely provoke disinvestment in minority communities, creative solutions by designers, planners, artists, and residents are necessary to activate them in novel ways. Black people have built and shaped the American landscape in ways that can never be fully known. ''Black landscapes matter'' is a timely and necessary reminder that without recognizing and reconciling these histories and spaces, America’s past and future cannot be understood.
Classification:
livres
livres
Publication:
novembre 2020
novembre 2020
Sujet:
Théorie du paysage
Théorie du paysage
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livres
livres
Titre:
Phil Frost
Phil Frost
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Part of a whole gang of street artists--from Barry McGee to Swoon--who have broken into the art world in the last decade or so, Phil Frost's signature style is a funky tribalism--Hawaii by way of New York City--infused with a quirky sense of art history and design. In the 1990s, Frost honed his skills by painting walls, found objects and street detritus with his(...)
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Part of a whole gang of street artists--from Barry McGee to Swoon--who have broken into the art world in the last decade or so, Phil Frost's signature style is a funky tribalism--Hawaii by way of New York City--infused with a quirky sense of art history and design. In the 1990s, Frost honed his skills by painting walls, found objects and street detritus with his(...)
Publication:
mai 2008, Bologna
mai 2008, Bologna
Titre:
Phil Frost
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Part of a whole gang of street artists--from Barry McGee to Swoon--who have broken into the art world in the last decade or so, Phil Frost's signature style is a funky tribalism--Hawaii by way of New York City--infused with a quirky sense of art history and design. In the 1990s, Frost honed his skills by painting walls, found objects and street detritus with his intricate, compulsive and highly evolved form of tagging. Frost's gallery exhibitions are crowded affairs, filled with wildly patterned totemic objects and baseball bats while the walls are stacked with colorful mixed media paintings. He crafts his painstaking paintings by collaging layers of found imagery on grounds of symmetrical black-and-white patterning, which he paints with correction fluid, and that often morph into language-like glyphs or symbols. Frost states, "I believe [my work] is indigenous to myself. I believe that within every person there is an indigenous expression of themselves." Including an essay by New York journalist Carlo McCormick and notorious lowbrow artist Pusshead, this is Frost's first monograph, and an invaluable introduction to the evolution of his style.
Phil Frost
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Part of a whole gang of street artists--from Barry McGee to Swoon--who have broken into the art world in the last decade or so, Phil Frost's signature style is a funky tribalism--Hawaii by way of New York City--infused with a quirky sense of art history and design. In the 1990s, Frost honed his skills by painting walls, found objects and street detritus with his intricate, compulsive and highly evolved form of tagging. Frost's gallery exhibitions are crowded affairs, filled with wildly patterned totemic objects and baseball bats while the walls are stacked with colorful mixed media paintings. He crafts his painstaking paintings by collaging layers of found imagery on grounds of symmetrical black-and-white patterning, which he paints with correction fluid, and that often morph into language-like glyphs or symbols. Frost states, "I believe [my work] is indigenous to myself. I believe that within every person there is an indigenous expression of themselves." Including an essay by New York journalist Carlo McCormick and notorious lowbrow artist Pusshead, this is Frost's first monograph, and an invaluable introduction to the evolution of his style.
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livres
livres
Publication:
mai 2008, Bologna
mai 2008, Bologna
Classification:
livres
livres
Titre:
Generation X
Generation X
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"Generation X" is Douglas Coupland's acclaimed salute to the generation born in the late 1950s and 1960s - a generation known vaguely up to then as "twentysomething." Andy, Claire, and Dag, each in their twenties, have quit "pointless jobs done grudgingly to little applause" in their respective hometowns and cut themselves adrift on the California desert. In search of the(...)
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"Generation X" is Douglas Coupland's acclaimed salute to the generation born in the late 1950s and 1960s - a generation known vaguely up to then as "twentysomething." Andy, Claire, and Dag, each in their twenties, have quit "pointless jobs done grudgingly to little applause" in their respective hometowns and cut themselves adrift on the California desert. In search of the(...)
Titre:
Generation X
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"Generation X" is Douglas Coupland's acclaimed salute to the generation born in the late 1950s and 1960s - a generation known vaguely up to then as "twentysomething." Andy, Claire, and Dag, each in their twenties, have quit "pointless jobs done grudgingly to little applause" in their respective hometowns and cut themselves adrift on the California desert. In search of the drastic changes that will lend meaning to their lives, they've mired themselves in the detritus of American cultural memory. Refugees from history, the three develop an ascetic regime of story-telling, boozing, and working McJobs - "low-pay, low-prestige, low-benefit, no-future jobs in the service industry." They create modern fables of love and death among the cosmetic surgery parlors and cocktail bars of Palm Springs, disturbingly funny tales of nuclear waste, historical overdosing, and mall culture. A dark snapshot of the trio's highly fortressed inner world quickly emerges - landscapes peopled with dead TV shows, "Elvis moments," and semi-disposable Swedish furniture. And from these landscapes, deeper portraits emerge, those of fanatically independent individuals, pathologically ambivalent about the future and brimming with unsatisfied longings for permanence, for love, and for their own home. Andy, Dag, and Claire are underemployed, overeducated, intensely private, and unpredictable. Like the group they mirror, they have nowhere to assuage their fears, and no culture to replace their anomie.
Generation X
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"Generation X" is Douglas Coupland's acclaimed salute to the generation born in the late 1950s and 1960s - a generation known vaguely up to then as "twentysomething." Andy, Claire, and Dag, each in their twenties, have quit "pointless jobs done grudgingly to little applause" in their respective hometowns and cut themselves adrift on the California desert. In search of the drastic changes that will lend meaning to their lives, they've mired themselves in the detritus of American cultural memory. Refugees from history, the three develop an ascetic regime of story-telling, boozing, and working McJobs - "low-pay, low-prestige, low-benefit, no-future jobs in the service industry." They create modern fables of love and death among the cosmetic surgery parlors and cocktail bars of Palm Springs, disturbingly funny tales of nuclear waste, historical overdosing, and mall culture. A dark snapshot of the trio's highly fortressed inner world quickly emerges - landscapes peopled with dead TV shows, "Elvis moments," and semi-disposable Swedish furniture. And from these landscapes, deeper portraits emerge, those of fanatically independent individuals, pathologically ambivalent about the future and brimming with unsatisfied longings for permanence, for love, and for their own home. Andy, Dag, and Claire are underemployed, overeducated, intensely private, and unpredictable. Like the group they mirror, they have nowhere to assuage their fears, and no culture to replace their anomie.
Classification:
livres
livres
Publication:
mars 1991
mars 1991
Sujet:
Littérature et poésie
Littérature et poésie
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livres
livres
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$30.00
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Trash, garbage, rubbish, dross, detritus - in this enjoyably radical exploration of junk, Gillian Whiteley re-thinks art's historical and present appropriation of junk within our eco-conscious and globalized culture. She does this through an illustrated exploration of particular materials, key moments and locations and the telling of a panoply of trash narratives. Found(...)
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Trash, garbage, rubbish, dross, detritus - in this enjoyably radical exploration of junk, Gillian Whiteley re-thinks art's historical and present appropriation of junk within our eco-conscious and globalized culture. She does this through an illustrated exploration of particular materials, key moments and locations and the telling of a panoply of trash narratives. Found(...)
Titre:
Junk : art and the politics of trash
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$30.00
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Trash, garbage, rubbish, dross, detritus - in this enjoyably radical exploration of junk, Gillian Whiteley re-thinks art's historical and present appropriation of junk within our eco-conscious and globalized culture. She does this through an illustrated exploration of particular materials, key moments and locations and the telling of a panoply of trash narratives. Found and ephemeral materials are primarily associated with assemblage - object-based practices which emerged in the mid-1950s and culminated in the seminal exhibition "The Art of Assemblage" in New York in 1961. With its deployment of the discarded and the filthy, Whiteley argues, assemblage has been viewed as a disruptive, transgressive artform that engaged with narratives of social and political dissent, often in the face of modernist condemnation as worthless kitsch. In the Sixties, parallel techniques flourished in Western Europe, the US and Australia but the idiom of assemblage and the re-use of found materials and objects - with artist as bricoleur - is just as prevalent now. This is a timely book that uncovers the etymology of waste and the cultures of disposability within these economies of wealth.
Junk : art and the politics of trash
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$30.00
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Résumé:
Trash, garbage, rubbish, dross, detritus - in this enjoyably radical exploration of junk, Gillian Whiteley re-thinks art's historical and present appropriation of junk within our eco-conscious and globalized culture. She does this through an illustrated exploration of particular materials, key moments and locations and the telling of a panoply of trash narratives. Found and ephemeral materials are primarily associated with assemblage - object-based practices which emerged in the mid-1950s and culminated in the seminal exhibition "The Art of Assemblage" in New York in 1961. With its deployment of the discarded and the filthy, Whiteley argues, assemblage has been viewed as a disruptive, transgressive artform that engaged with narratives of social and political dissent, often in the face of modernist condemnation as worthless kitsch. In the Sixties, parallel techniques flourished in Western Europe, the US and Australia but the idiom of assemblage and the re-use of found materials and objects - with artist as bricoleur - is just as prevalent now. This is a timely book that uncovers the etymology of waste and the cultures of disposability within these economies of wealth.
Classification:
livres
livres
Publication:
janvier 2011
janvier 2011
Classification:
livres
livres
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$56.50
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Near the homes of photographers John Willis and Tom Young is a paper mill that sits in the otherwise pristine and picturesque climes of western Massachusetts. For Willis and Young, this site is one of both aesthetic and philosophical contradictions : despite its verdant locale, the mill—with its ominous smoke stacks and countless bales of discarded paper—brings to mind(...)
$56.50
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Near the homes of photographers John Willis and Tom Young is a paper mill that sits in the otherwise pristine and picturesque climes of western Massachusetts. For Willis and Young, this site is one of both aesthetic and philosophical contradictions : despite its verdant locale, the mill—with its ominous smoke stacks and countless bales of discarded paper—brings to mind(...)
Sujet:
Monographies photo
Monographies photo
Publication:
mars 2006, Santa Fe
mars 2006, Santa Fe
Titre:
Recycled realities : John Willis and Tom Young
Actions:
Prix:
$56.50
(disponible sur commande)
Résumé:
Near the homes of photographers John Willis and Tom Young is a paper mill that sits in the otherwise pristine and picturesque climes of western Massachusetts. For Willis and Young, this site is one of both aesthetic and philosophical contradictions : despite its verdant locale, the mill—with its ominous smoke stacks and countless bales of discarded paper—brings to mind the dreariness of industrialization and the impermanence of life itself. But the factory is actually one where such litter is reborn as reusable paper. Willis and Young’s stunning black-and-white images, collected in this unforgettable volume, transform this mill and the innumerable mounds of recyclable waste it processes daily into an indelible and evocative landscape. "Recycled realities" is not a jeremiad foretelling the consequences of excessive waste, rampant pollution, or unbridled consumption, but rather a profound meditation on the hidden meanings and connections that linger beneath the debris and detritus of everyday life. These astonishing and often surreal photos of discarded paper from the printed world trace the processes of emergence, revelation, and redemption that make the cycle of life possible. In their photographs, Willis and Young take that which we have discarded and create new forms of being in and of themselves: vibrant and ultimately life-affirming portraits of who we are as people and the realities that we constantly build—and rebuild—all around us.
Recycled realities : John Willis and Tom Young
Actions:
Prix:
$56.50
(disponible sur commande)
Résumé:
Near the homes of photographers John Willis and Tom Young is a paper mill that sits in the otherwise pristine and picturesque climes of western Massachusetts. For Willis and Young, this site is one of both aesthetic and philosophical contradictions : despite its verdant locale, the mill—with its ominous smoke stacks and countless bales of discarded paper—brings to mind the dreariness of industrialization and the impermanence of life itself. But the factory is actually one where such litter is reborn as reusable paper. Willis and Young’s stunning black-and-white images, collected in this unforgettable volume, transform this mill and the innumerable mounds of recyclable waste it processes daily into an indelible and evocative landscape. "Recycled realities" is not a jeremiad foretelling the consequences of excessive waste, rampant pollution, or unbridled consumption, but rather a profound meditation on the hidden meanings and connections that linger beneath the debris and detritus of everyday life. These astonishing and often surreal photos of discarded paper from the printed world trace the processes of emergence, revelation, and redemption that make the cycle of life possible. In their photographs, Willis and Young take that which we have discarded and create new forms of being in and of themselves: vibrant and ultimately life-affirming portraits of who we are as people and the realities that we constantly build—and rebuild—all around us.
Classification:
livres
livres
Publication:
mars 2006, Santa Fe
mars 2006, Santa Fe
Sujet:
Monographies photo
Monographies photo
