Son rapport très intuitif et physique aux lieux immerge le spectateur dans un univers qui emprunte à la fois au monde du cinéma et à celui de la peinture. « Une bonne photo est une photo qui dit beaucoup de choses sur le lieu et le moment où elle a été faite », précise le photographe. L'espace donc - sa complexité, la perception que nous en avons, sa plasticité - est à l'égal de la couleur une composante majeure des images de Gruyaert, comme si la dualité entre couleur et spatialité - sujet majeur des beaux-arts des siècles précédents - se dissolvait pour au final créer une oeuvre où seul importe le plaisir de l'immersion.
Basculer dans l'image, dissoudre les frontières entre espaces extérieur et intérieur, monde clos ou au contraire ouvert sur l'ailleurs : Between Worlds offre une immersion sensorielle. Peu importe les lieux (boutiques, gares, cafés, métros, chambres d'hôtel, malls...), les pays (Europe, Moyen-Orient, Asie, États-Unis, Afrique...), l'époque (des années 1970 à aujourd'hui), le photographe déploie ici l'essence même de son écriture visuelle : une alchimie lumineuse dans un temps suspendu. Où sommes-nous ? Peu importe, seul règne le délice de se perdre. Au fil d'un editing réalisé comme un « carottage » dans ses archives, Harry Gruyaert montre qu'au-delà du merveilleux coloriste qu'il est, ses images, avec leurs jeux de transparences et de mise en abyme, racontent aussi l'illusion du monde.
Haas' most cherished and personal project originally conceived as an audiovisual slideshow is recreated here in stunning color that will delight his numerous fans as well as anyone interested in Kodachrome photography.
Three decades after its completion, Haas' most personal and least-known project is now available for the first time in this exquisitely produced book. Presented in a clean and spare design, this volume features reproductions of superb quality that allow readers to appreciate his mastery of color, light, and composition, and his ability to capture the mystery of daily life.
For this collection Haas drew on images made in all phases of his career from 1952 to 1984, and, despite the title, most of these photographs are not abstract but rather clear, focused, well-exposed images of recognizable surfaces from the observable world around him: crumbling paint, graphic road markings, fabric, liquids, detritus, decay, and torn posters. David Campany's eloquent introductory essay lays the groundwork for a deep appreciation of the slideshow which, in book form, can be savored and understood in an entirely new way.
Qu'est-ce qui façonne notre réponse à une photographie ? D'où vient le sens que nous lui attribuons ? Et quel impact ont les intentions du photographe sur notre lecture ? David Campany explore ici le medium photographique à travers 120 images - certaines familières, d'autres surprenantes - et nous montre que notre façon de penser les photographies est tout aussi importante que ce que nous pensons de celles-ci.
This volume brings together the most important photographs from the long career of Louis Stettner. Born in Brooklyn, New York, in 1922, Stettner's life would span nearly a century, his work reflecting the unique vision of one of the twentieth-century's master photographers.
Organized chronologically, Louis Stettner presents approximately 190 photographs from Stettner's career, featuring his iconic images of New York and Paris; the architecture of urban wonders such as Penn Station, the Brooklyn Bridge, and the New York City subway; as well as candid and empathetic street photographs of the people who inhabit these metropolitan centers.
While celebrated for his black-and-white works, the book also includes Stettner's works in color, many previously unpublished and unknown. The authors investigate the influence of his experiences as a photographer in World War II on his life and work. They also explore his experience with the celebrated Photo League cooperative and his relationships with photographers such as Weegee, Sid Grossman, Ruth Orkin, and Berenice Abbott. The result is a definitive book on Stettner's photography--making the work of the great lensman available to generations of readers.
Reassessing the career of the hugely influential Harper's Bazaar art director, who changed the course of twentieth-century American photography and graphic design
This lavishly illustrated volume explores the influence and significance of the Russian-born photographer, designer, and instructor Alexey Brodovitch (1898-1971), best known for his art directorship of the American fashion magazine Harper's Bazaar between 1934 and 1958, as well as his tutelage of many celebrated documentary and fashion photographers, including Irving Penn, Richard Avedon, Eve Arnold, and Lillian Bassman. Though disparate in their aesthetic approaches, these figures are unified by their responses to Brodovitch's dictum to «astonish me.» The authors address Brodovitch's impact on photography as an artistic medium in the mid-twentieth century and explore how European art and design became the foundation of a new American print culture. Brodovitch's own work will be illuminated through his personal projects-such as the magazine Portfolio and the photographic project Ballet, which depicted performances of the Ballets Russes de Monte Carlo in the United States (whose evolution echoed Brodovitch's own émigré condition). Case studies of his transformative collaborations with photographers such as Arnold, Avedon, Penn, Lisette Model, Henri Cartier-Bresson, Hans Namuth, and André Kertész reveal pivotal encounters that may surprise even the most ardent photography aficionado. An illustrated chronology offers an important tool for scholars on this influential but often overlooked figure.
Distributed for the Barnes Foundation
Exhibition Schedule:
Barnes Foundation, Philadelphia
(March 3-May 19, 2024)
Fred Herzog est aujourd'hui considéré comme un pionnier de la couleur, un confrère canadien de Garry Winogrand, Helen Levitt ou Saul Leiter dans les années 50 et 60. Dans les rues de Vancouver, il a travaillé exclusivement au Kodachrome pendant plus de 50 ans. Ce matériel a commencé à être scanné et archivé il y a seulement 10 ans. Cette monographie, réalisée avec la collaboration du photographe et accompagnée d'un texte de David Campany, rassemble 230 images en couleur mais aussi en noir et blanc, dont beaucoup étaient restées inédites. Elle constitue une référence unique sur son travail.
A new collection from the award-winning Magnum photographer.
A master of colour-saturated images, Harry Gruyaert has roamed the world searching for the perfect light for more than forty years. His very intuitive and physical sense of place immerses the spectator in a world that borrows simultaneously from the cinematic universe and from that of the painter. Dissolving the boundaries between the exterior and interior, Between Worlds offers just such a sensory immersion.
No matter the setting, the country or the era, Gruyaert deploys a luminous alchemy suspended in time. Where are we? It doesn't matter: in Gruyaert's world, the pleasure of getting lost reigns.
Common Objects reprend les séries les plus connues de Lewis Baltz, depuis The Prototype Works (1967-1976) à Ronde de Nuit (1992-1995), et interroge pour la première fois l'influence du cinéma européen ((Antonioni, Godard, Hitchcock). Les séries The Prototype Works, The Tract Houses (1969-1971), Candlestick Point (1987-1989), Sites of Technology (1989-1991) et Ronde de Nuit sont présentées en dialogue avec des photogrammes de Psycho et Cinquième Colonne de Hitchcock, de Zabriskie Point, La Notte et Le Désert Rouge d'Antonioni, ainsi que Les Carabiniers de Godard.
Ce livre magnifiquement imprimé met en lumière un pan méconnu de la carrière de Walker Evans, à savoir ses collaborations avec des magazines d'avant-garde et d'autres très connus comme Harper's Bazaar, Vogue, Architectural Forum, Life et Fortune. Ses essais photographiques, reproduits dans leur intégralité, sont un témoignage de la façon dont il travaillait pour gagner sa vie et de sa façon de s'adresser à un large public.
S'appuyant sur des images de stations essence tirées d'archives de grands journaux américains, David Campany analyse toute la force et la symbolique qui se cache derrière leur apparente banalité. On peut y voir une sorte d'allégorie de notre dépendance à l'essence ainsi qu'une paraphrase d'Ed Rusha et ses Twentysix Gasoline Stations.
An in-depth examination of Victor Burgin's remarkable work of conceptual art Photopath by the celebrated author and curator David Campany (On Photographs, a Handful of Dust).
- International in scope, - Art and Photography is the most authoritative and wide-ranging survey on the place of photography in contemporary art and culture.
- David Campany offers a unique insight into the - ways in which the medium has transformed both art and vision.
- Discusses photography's central role in - contemporary art, starting with such 1960s movements as Conceptual art, Pop and Land art.
- Details four decades of important work from - artists including Andy Warhol, Jeff Wall, Andreas Gursky, Francesca Woodman, Sally Mann, Gillian Wearing, Wolfgang Tillmans, Thomas Struth, Joel Meyerowitz, Gregory Crewdson and Barbara Kruger.
Bandes d'asphaltes et de béton, marchands de glace, stands de hot dog, cafés de restauration rapide, motels, bungalows de vacances bon marché devinrent dans les années 1950 les nouveaux éléments d'une grammaire visuelle qui façonna une partie de l'imaginaire américain. L'oeuvre mythique de Walker Evans (American Photographs, 1938), considérée comme fondatrice, à ouvert la voie à de nombreux autres photographes comme en témoigne l'editing photographique époustouflant de ce livre.
Il dresse un panorama des représentations de l'espace américain, multipliant les approches et convoquant le regard de photographes européens ou asiatiques.
Image Cities is the latest project of photographer Anastasia Samoylova. In the series, carried out in cities across the globe, Samoylova studies the proliferation of photographic images in urban environments. She observes how in our neo-liberal era of networked economic markets and networked imagery the global centers of internationalized money and culture are becoming increasingly aligned and similar. At the same time, however, these cities attempt to promote their individuality, often by repurposing their specific histories. Samoylova's work reveals how the cities she photographs are moving towards a generic urban landscape of anonymous steel and glass, and it also points to the role photography plays in creating this ideological gap between branded urban identity and lived reality.
