#photography exhibition book

[fashionbooksmilano]

Vik Muniz  Seeing is Believing

Charlea Stainback Ashley, Marl Alice Durant, Vik Muniz

Arena Editions

Arena Editions, Santa Fe 1998, 164 pages, 25 x 32 cm, Hardcover with dust jacket , ISBN  978-1892041005

euro 60,00

email if you want to buy booksinprogressmilano@yahoo.it

Vik Muniz works with the syntax of photography, but his images are not simply photographic. As Vince Aletti has pointed out in the Village Voice, Muniz has teased the medium mercilessly and with an infectious glee. He makes pictures of picturessly, punning documents that subvert photography by forcing it to record not the natural world but a fiction, a simulation. Munizs pictures are illusions that draw from the language of visual culture, but they twist and redefine our perception to both the commonplace and the fantastic. Munizs images humorously, as well as critically, challenge our abilities to discern fact from fiction, reality from illusion. Utilizing a panoply of unorthodox materialsgranulated sugar, tomato sauce, chocolate syrup, a 16,000-yard piece of sewing thread, and soilMuniz first creates an image, sculpturally manipulates it, then photographs it. Whether a portrait, a landscape, or an iconic image from history, Munizs images are never what! they seem. This book, the artist s first monograph, is produced in conjunction with Muniz’s one-person exhibition at the International Center of Photography in New York, opening September 1998.

05/04/23

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[letterkive]

Ala Ebtekar, Thirty-Six Views of the Moon (from the San Jose Museum of Art)

Cyanotype prints on found book pages exposed to moonlight.

Thirty-six Views of the Moon is a collection of night exposures, left from dusk till dawn and exposed by moonlight on book pages from texts referencing the moon and night sky spanning the last ten centuries. Working with photographic negatives of the Moon from the Lick Observatory archives in Northern California and treating each book page with Potassium ferricyanide and Ammonium ferric citrate (cyanotype) to make the surface of the page light-sensitive, the pages are then exposed overnight by the UV-light emitted by the moon. The work takes its cue from a poem by Omar Khayyam that imagines us as the objects of the Moon’s omnipresent gaze and, in response, produces a vignette of windows on the Moon that abstract the typical celestial gaze, merging galaxy with ground to collapse space and time. (McEvoy Foundation for the Arts)

[ernestoednrec]

📸 Man Ray, ( 1890 - 1976 ).

Dora Maar, 1935.

[escapismsworld]

An exhibition in the only surviving room of the Princely Palace in Piatra Neamț, Romania, excavated and restored in modern times.

[crimson-kas]

A review of the Southern Photography exhibit at the Figge Art Museum.

[germanpostwarmodern]

For decades several of the iconic photographs of the Bauhaus master’s houses have been published without proper credit, omitting the authorship of a significant photographer: Lucia Moholy (1894-1989), between 1921 and 1928 wife of László Moholy-Nagy and thus during his time as master at the Bauhaus. The photographs she took during this period to this day dominate the reception of her work, a major mistake in view of the quality and wide range of her oeuvre. Currently and up until 28 October the Kunsthalle Praha aims to make up for past neglect: with „Lucia Moholy: Exposures“ the curators compiled the first major retrospective of Moholy’s work from the 1910s to the 1970s and reveal a fascinating multidisciplinarity that went beyond the borders of art: in 1939 Moholy e.g. published “A Hundred Years of Photography 1839-1939”, a book that broke with previous techno-historical and art-historical paradigms and took into account the cultural richness of photography as well as its place in history in order to represent a cultural history of the medium.

Another ungraceful story unfolded after the end of WWII when Walter Gropius didn’t bother to return the negatives of many of Moholy’s iconic Bauhaus photographs that had her ex-husband left in his custody after Lucia abruptly had to flee Berlin in 1938. The case was eventually settled in 1957 after years of back and forth between international lawyers…

On another note Moholy escaped to London and opened a portrait studio that was sadly destroyed in a German air raid. Left without means she found employment in the emerging microfilm industry and supported the British war efforts by copying smuggled German scientific publications. While she also explored the archival use of microfilm Moholy gained significant knowledge in the field of documentation and consecutively she established her firm „Documenting Services“. Owing to her expertise she was hired by the Unesco and extensively traveled the Middle East in close collaboration with Ankara University.

In 1959 Moholy finally settled in Zurich, Switzerland, which would be her home base until her death in 1989.

Moholy’s life story is comprehensively illuminated in the catalogue accompanying the exhibition, published by Hatje Cantz, which not only contains a wide selection of her photographic works but also a wealth of insightful essays that further enlarge upon the different aspects of her oeuvre. In view of this the present catalogue is an indispensable reference for future research into the work of Lucia Moholy and highly recommended!

[alessandro55]

Sacha Photographe de mode Fashion photographer

Photographies de /photography by Sacha Van Dorssen

Sous la direction de Gabriel Bauret

Chene, Paris 2011, 256 pages, 24x29,5cm, ISBN 9782812 3024228

euro 75,00

email if you want to buy booksinprogressmilano@yahoo.it

A travers plus de 200 photographies, cet ouvrage retrace la carrière de Sacha, photographe de mode d'origine hollandaise et venue à Paris au début des années soixante. Organisé chronologiquement depuis les premières commandes de Sacha pour l'hebdomadaire Elle jusqu'à ses récentes images pour Bloom, le livre présente les photographies les plus significatives d'une production intensive pour la presse internationale (Elle, The Sunday Times Magazine, Stem, Marie Claire, Vogue, Harper's Bazaar...), ou pour la publicité et l'édition. Il est rythmé par décennie, mêlant photographies et publications, documents de travail et propos de Sacha, mais aussi témoignages de nombreuses personnalités du monde de la mode, comme Kenzo, Claude Brouet, Peter Knapp, Li Edelkoort, et d'autres couturiers, rédactrices, directeurs artistiques, éditeurs, mannequins ou coiffeurs. Cet ouvrage de référence apporte en même temps un éclairage sur l'évolution de la photographie, de la mode et des magazines au cours des dernières décennies. Il est coordonné par Gabriel Bauret qui a assuré également le commissariat de l'exposition que l'Institut néerlandais à Paris a consacré à Sacha.

26/09/24

[slack-wise]

XXto2

Hey!

A new zine by Luke Harby and Tyrone Williams, launches tomorrow (Saturday 6th July 2024).

Photomafia Studios S10 Nene Enterprise Centre Freehold Street Northampton, NN2 6EF 2pm - 7pm.

The zine will have an early bird launch price of £11 (after that it's £14 with free shipping in the UK).

See you there. (2nd image c/o Jessica Harby)

[bigcats-birds-and-books]

Books of 2023. THE EMPLOYEES by Olga Ravn. This was a very weird, very poetic, reasonably fucked up little book that I’ve had my eye on since it was released in English, and I enjoyed it! It’s one of those hugely ambiguous, “good luck sorting this shit out” type books, told in statements by the human and humanoid coworkers on a space ship (and there are alien artifacts involved).

[dijetemjeseca]

"Ženama se ponekad svide muškarci koji im znaju izmamiti osmijeh, ali obožavaju samo one koje ih rasplaču. Poštuju samo ono što ne razumiju. U tom je poštovanju ključ. Herman je vidio dovoljno svijeta da zna kako život muškarcu ne čini podnošljivim ženska ljubav, nego poštovanje. A u poštovanju se uvijek krije i malo straha."

-Carsten Jensen, Mi, utopljenici

[fashionbooksmilano]

Chic Clicks

Exhibition curator Ulrich Lehmann

Hatje Cantz Publ. , Berlin 2002, 150+140 pages, 23,5x30cm, ISBN 3-7757-1135-X

euro 90,00

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Catalogue reads from both directions, with texts in the center of the book, with hundreds of full color photographs by a range of artists including Philip-Lorca diCorcia, Anders Edstrom, Takashi Himma, Richard Prince, Collier Schorr, Cindy Sherman, Larry Sultan, Erwin Wurm, and many others. Published on the occasion of the exhibition held first in Boston from January 23-May 5, 2002, and subsequently at Fotomuseum Winterthur from June 15-August 18, 2002. 

Chic Clicks est la première publication traitant du conflit entre la revendication artistique et la réalité commerciale dans la photographie de mode. 40 photographes de renom présentent des travaux libres et inédits ainsi que des commandes publiées dans des magazines de mode ; cinq essais traitent de la photographie de mode dans sa signification culturelle et sociale.

Chic Clicks présente à la fois des clichés privés et expérimentaux de photographes qui se sont fait un nom avec des photos de mode, et des photos de mode de photographes qui se sont d'abord fait connaître par leur travail artistique et qui, par conséquent, ont reçu des commandes de magazines de mode et d'entreprises.

Les artistes : Fred Aufray, Laetitia Benat, Anuschka Blommers & Niels Schumm, Koto Bolofo, Mark Borthwick, Jean-François Carly, Alex Cayley, Banu Cennetoglu, Donald Christie, Philippe Cometti, Philip-Lorca diCorcia, Corinne Day, Horst Diekgerdes, Anders Edström, Alexei Hay, Takashi Homma, Mikael Jansson, Marcelo Krasilcic, Christophe Kutner, Tom Lingnau et Frank Schumacher, Glen Luchford, Richard Prince, Dmon Prunner, Blaise Reuterswärd, Terry Richardson, Satoshi Saikusa, Jimo Salako, Luis Sanchis, Collier Schorr, Cindy Sherman, David Sims, Antonio Spinoza, Larry Sultan, Iké Udé, Javier Vallhonrat, Jonathan de Villiers, Matthias Vriens, Erwin Wurm

10/06/24

[i-llbehere]

[p-i-z-z-a-m-a-n]

尾身沙紀 写真展 Wanderlust by Saki Omi 観了

[thingstol00kat]

From the Love Songs exhibition book <3

ICP, september 2023, NYC

Emmet Gowin, Herve Guibert

[claudiaciardiautrice]

Luca Signorelli - Art exhibition in Cortona.

Gardens in the evening.

[germanpostwarmodern]

Andreas Gursky’s photographs are strangely fascinating: from the early 1990s on he developed what he calls „knitted“ photographs, made up of different individual shots, massive in format and detail (and eventually also price). In 2008 the Kunstmuseen Krefeld staged a grand retrospective of Gursky’s works from 1980 to the then present at Houses Lange and Esters, an exhibition that was accompanied by the present handy catalogue: published by @hatjecantzverlag it offers a beautifully designed and comprehensive overview of the photographer’s development over almost thirty years, from his early „Pförtnerlogen“ to later works like „Kuwait Stock Exchange“. What we get to see in these photographs is the morphology of the world that grew in scope alongside Gursky‘s success: where his early works explore his familiar surroundings of the Rhineland and Ruhr Area he later travelled the world in order to capture the determinants of our globalised world. Interestingly there’s always a somewhat distant but inevitable presence of man in relation to the world. When Gursky photographs stock exchanges, production halls or crowds of people during concerts he makes visible more than the human eye can see. But at the same time he captures determinants and symptoms of the present day in the manner of an encyclopedia of which each photograph is a necessary part. Read in this way his massive and massively successful work functions as an inventory of the late-capitalist world we live in and opens up a resonance space for the manifold discussions surrounding the human condition‘s status quo. „Andreas Gursky - Werke 80-08“ is an excellent cross section of the photographer‘s career that thankfully also brings to light his lesser-known series from the 1980s, more intimate, smaller works that often possess a subcutaneous wit his later works only rarely show.