Catalogue Photo 2006
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Germaine Krull
Germaine Krull Germaine Krull est née le 29 y règne en maître et les photographes Hugo Erfurth et novembre 1897 de parents alle- Heinrich Kühn y sont cités en exemples. Elle est dans la mands à Poznan, une ville polo- classe du professeur Spörl pour qui la personne représen- naise qui fait partie du royaume tée n’est qu’un moyen pour atteindre un but : la représen- de Prusse depuis le Congrès de tation artistique. Elle adore l’école qui est une expérience Vienne, au hasard d’un déplace- absolument nouvelle, les travaux pratiques, son profes- ment professionnel de son père, seur, la découverte de la ville avec pour la première fois un ingénieur qui va ensuite des amies de son âge. rejoindre son poste en Bosnie où elle passera une partie de sa Elle fréquente la bohème munichoise et s’engage en Autoportrait, Paris, 1927 petite enfance. La famille s’ins- politique. Elle a son premier contact avec le bouddhisme talle ensuite dans la campagne romaine puis à Paris où « ... cette philosophie [qui] est la mienne depuis. La réin- sa mère tient une table d’hôtes « ... assez élégante. Il y a carnation ; les fautes que vous faites, vous les expiez ; la des attachés de consulats et quelques hommes de lettres, conscience de la vie qui tourne et qui revient2... ». C’est là des étudiantes en musique1. » Son père refuse qu’elle aille à qu’elle découvre l’art moderne, qu’elle forme son goût sous l’école et engage une préceptrice. Ensuite ce sera la Slové- l’infl uence d’un ami peintre plus âgé qu’elle. -
FILM MANUFACTURERS INC. Presents MAPPLETHORPE: LOOK at the PICTURES a Film by Fenton Bailey & Randy Barbato
FILM MANUFACTURERS INC. Presents MAPPLETHORPE: LOOK AT THE PICTURES A film by Fenton Bailey & Randy BArbAto BERLINALE SCREENING SCHEDULE (PREMIERE) Sunday, February 14th at 5:00 PM @ (P&I SCREENING) Sunday, FebruAry 14th At 9:00 PM @ Running Time: 1:48:24 minutes For press materials, please visit: Press ContAct Press ContAct Public Insight Dogwoof Andrea Klasterer Yung Kha Office: +49/ 89/ 78 79 799-12 Office: +44(0)20 7253 6244 Andrea cell: +49 163 680 51 37 Yung cell: +44 7788546706 Email: [email protected] Email: [email protected] InternAtionAl Sales InternAtionAl Press DOGWOOF [email protected] Vesna Cudic [email protected] / +44 7977 051 577 www.mapplethorpefilm.com www.facebook.com/MapplethorpeFilm www.twitter.com/Mapplethorpedoc www.filminc.com MAPPLETHORPE: LOOK AT THE PICTURES A film by Fenton Bailey & Randy Barbato SHORT SYNOPSIS MAPPLETHORPE: LOOK AT THE PICTURES is the first definitive, feature length portrait of the controversial artist since his untimely death in 1989. A catalyst and an illuminator, but also a magnet for scandal, Robert Mapplethorpe had but one goal: to ‘make it’ as an artist and as an art celebrity. He could not have picked a better time: the Manhattan of Warhol’s Factory, Studio 54, and an era of unbridled hedonistic sexuality. His first solo exhibition in 1976 already unveils his subjects: flowers, portraits and nudes. Mapplethorpe quickly gains notoriety through his explicitly sexual photographs from the gay sadomasochistic scene as well as nude pictures of black men. Directors Fenton Bailey and Randy Barbato were given unrestricted access to Mapplethorpe’s archives for their documentary Mapplethorpe: Look at the Pictures, in which this exceptional artist talks candidly about himself in recently discovered interviews. -
IDOLS Gilles Larrain
Born in Da Lat, Vietnam in 1938, These arresting photographs may Gilles Larrain began an atypical life delight you. Perhaps they will offend that would see him living in Vietnam, you. They will almost certainly inspire Chile, Argentina, Canada, France, and you to ask questions about yourself America, all before the age of 16. He “I moved to New York City because of people like this. I wanted to be around the art crowd and the and your sexuality. They will not leave would have to learn many languages weirdos and the freaks...and here was a full-on book of them. I was like, where do I sign up? I wanted in.” you cold. The Halloween glamour of and integrate each new world, so the transvestite world is captured in it is not surprising that expression, —Ryan McGinley, from the Foreword these superb photographs by Gilles communication, and curiosity became Larrain. And, beneath the glitter and the framework for Larrain’s life pursuit, the pose, you will see the questing and the making of art. From architecture, to vulnerable souls of people you might painting, sculpture, creating happenings never meet outside these pages. People in New York City’s fabulous 60s, and living out their fantasies gallantly, photography, Gilles Larrain learned brilliantly, and desperately—posing the languages of his craft (in part by the disturbing challenge, “Who do you attending l’École Nationale Supérieure think YOU are?” des Beaux-Arts, Paris and MIT) as IDOLS he had those of his ever-changing Idols are revolutionary images environments growing up. -
The Age of Distraction: Photography and Film Quentin Bajac
The Age of Distraction: Photography and Film quentin bajac Cult of Distraction In the immediate post–World War I period, distraction was perceived as one of the fundamental elements of the modern condition.1 These years — described as folles in French, roaring in the United States, and wilden in German2 — were also “distracted” years, in every sense of the term: in the sense of modern man’s new incapacity to focus his attention on the world, as well as a thirst to forget his own condition, to be entertained. In the eyes of then- contemporary observers, the new cinema — with its constant flux of images and then sounds, which seemed in contrast with the old contemplation of the unique and motionless work — offered the best illustration of this in the world of the visual arts (fig. 1). In 1926, in his essay “Kult der Zerstreuung” (Cult of distraction), Siegfried Kracauer made luxurious Berlin movie theaters — sites par excellence of the distraction of the masses — the point of departure and instrument of analysis of German society in the 1920s. In the temples of distraction, he wrote, “the stimulations of the senses suc- ceed each other with such rapidity that there is no room left for even the slightest contemplation to squeeze in between them,”3 a situation he compared to the “increasing amount of illustrations in the daily press and in periodical publications.”4 The following year, in 1927, he would pursue this idea in his article on photography,5 deploring the “bliz- zard” of images in the illustrated press that had come to distract the masses and divert the perception of real facts. -
The History of Photography: the Research Library of the Mack Lee
THE HISTORY OF PHOTOGRAPHY The Research Library of the Mack Lee Gallery 2,633 titles in circa 3,140 volumes Lee Gallery Photography Research Library Comprising over 3,100 volumes of monographs, exhibition catalogues and periodicals, the Lee Gallery Photography Research Library provides an overview of the history of photography, with a focus on the nineteenth century, in particular on the first three decades after the invention photography. Strengths of the Lee Library include American, British, and French photography and photographers. The publications on French 19th- century material (numbering well over 100), include many uncommon specialized catalogues from French regional museums and galleries, on the major photographers of the time, such as Eugène Atget, Daguerre, Gustave Le Gray, Charles Marville, Félix Nadar, Charles Nègre, and others. In addition, it is noteworthy that the library includes many small exhibition catalogues, which are often the only publication on specific photographers’ work, providing invaluable research material. The major developments and evolutions in the history of photography are covered, including numerous titles on the pioneers of photography and photographic processes such as daguerreotypes, calotypes, and the invention of negative-positive photography. The Lee Gallery Library has great depth in the Pictorialist Photography aesthetic movement, the Photo- Secession and the circle of Alfred Stieglitz, as evidenced by the numerous titles on American photography of the early 20th-century. This is supplemented by concentrations of books on the photography of the American Civil War and the exploration of the American West. Photojournalism is also well represented, from war documentary to Farm Security Administration and LIFE photography. -
Untitled) 1961, That Spewed Shaving Cream, Grand Central Moderns Gallery, NYC
Critical Mass Happenings Fluxus Performance Intermedia and Rutgers University 1958-1972 By: Geoffrey Hendricks ISBN: 0813533031 See detail of this book on Amazon.com Book served by AMAZON NOIR (www.amazon-noir.com) project by: PAOLO CIRIO paolocirio.net UBERMORGEN.COM ubermorgen.com ALESSANDRO LUDOVICO neural.it Page 1 Critical Mass: Some Reflections M O R D E C A I - M A R K M A C L O W Icons of my childhood were the piles of red-bound copies of An Anthology that my father, Jackson Mac Low, received for having edited and published it. Despite his repeated declarations that he was not a part of George Maciunas's self-declared movement, my father's involve- ment in the first Fluxus book left him irrevocably tangled in it. I myself seem to have been influenced by my father's experimental, algorithmic approach to poetry, and ended up a computational astrophysicist, studying how stars form out of the chaotic, turbulent interstellar gas. I think there was some hope that with this background I might explain the true, or correct, meaning of the term "critical mass." Unfortunately, as a scientist, I have no special access to truth, and correctness depends entirely on con- text. Let me explain this a bit before discussing the term "critical mass" itself. Science is often taught as if it consisted of a series of true facts, strung together with a narrative of how these facts were discovered. The actual practice of sci- ence, however, requires the assumption that nothing is guaranteed to be true except as, and only so far as, it can be confirmed by empirical evidence. -
1. Carbon Copy: 6/25 – 6/29 1973
The online Adobe Acrobat version of this file does not show sample pages from Coleman’s primary publishing relationships. The complete print version of A. D. Coleman: A Bibliography of His Writings on Photography, Art, and Related Subjects from 1968 to 1995 can be ordered from: Marketing, Center for Creative Photography, The University of Arizona, Tucson, AZ 85721-0103, or phone 520-621-7968. Books presented in chronological order 1. Carbon Copy: 6/25 – 6/29 1973. New York: ADCO interviews” with those five notable figures, serves also as Enterprises, 1973. [Paperback: edition of 50, out of print, “a modest model of critical inquiry.”This booklet, printed unpaginated, 50 pages. 17 monochrome (brown). Coleman’s on the occasion of that opening lecture, was made available first artist’s book. A body-scan suite of Haloid Xerox self- by the PRC to the audiences for the subsequent lectures in portrait images, interspersed with journal/collage pages. the series.] Produced at Visual Studies Workshop Press under an 5. Light Readings: A Photography Critic’s Writings, artist’s residency/bookworks grant from the New York l968–1978. New York: Oxford University Press, 1979. State Council on the Arts.] [Hardback and paperback: Galaxy Books paperback, 2. Confirmation. Staten Island: ADCO Enterprises, 1975. 1982; second edition (Albuquerque: University of New [Paperback: first edition of 300, out of print; second edition Mexico Press, 1998); xviii + 284 pages; index. 34 b&w. of 1000, 1982; unpaginated, 48 pages. 12 b&w. Coleman’s The first book-length collection of Coleman’s essays, this second artist’s book. -
The Avant Garde Festivals. and Now, Shea Stadium
by Stockhausen for American performance. Moorman's reac- Judson Hall on 57th Street and included jazz, electronic and even the auspicious begin- nonsonic work, as well as more traditional compositions . The idea tion, "What's a Nam June Paik?", marked the with ning of a partnership that has lasted for over ten years .) The various that music, as a performance art, had promising connections much mediums in were more distinct than is usual in an other art forms ran through the series, as it did through Originale intermedia work (Stockhausen tends to be rather Wagnerian in his the music itself . The inclusion of works by George Brecht, of thinking), but the performance strove for a homogeneous realiza- Sylvano Bussotti, Takehisa Kosugi, Joseph Beuys, Giuseppe . Chiari, Ben Vautier and other "gestural composers" gives some tion dated The 1965 festival was to be the last at Judson Hall . It, too, idea of the heterogeneity of its scope . Cage's works (which early '50s), featured Happenings, including a performance of Cage's open- back to his years at Black Mountain College in the ended Piece. Allan Kaprow's Push Pull turned so ram- along with provocative antecedents by the Futurists, Dadaists and Theater people scavenging in the streets for material to Surrealists, had spawned a generation here, in Europe and in Japan bunctious (with the ruckus) that Judson Hall would have no more. concerned with the possibilities of working between the traditional incorporate into Moorman was not upset; she had been planning a move anyway . categories of the arts-creating not a combination of mediums, The expansive nature of "post-musical" work demanded larger as in a Wagnerian Gesamtkunstwerk where the various arts team spaces-and spaces not isolated from everyday life. -
Abattoirs De La Villette (1929) : Le Point De Vue Du Photographe Eli Lotar Par-Delà La Revue Documents Et La Philosophie De Georges Bataille
1 Université de Montréal La série Aux Abattoirs de la Villette (1929) : Le point de vue du photographe Eli Lotar par-delà la revue Documents et la philosophie de Georges Bataille Par Émilie Lesage Histoire de l’art et études cinématographiques Arts et sciences Mémoire présenté à la Faculté des études supérieures en vue de l’obtention du grade de maîtrise en Histoire de l’art Septembre 2009 © Émilie Lesage, 2009 2 Université de Montréal Faculté des études supérieures Ce mémoire intitulé : La série Aux Abattoirs de la Villette (1929) : Le point de vue du photographe Eli Lotar par-delà la revue Documents et de la philosophie de Georges Bataille présenté par Émilie Lesage a été évalué par un jury composé des personnes suivantes : ……………...…Suzanne Paquet………………… président-rapporteur ………… …..Johanne Lamoureux……………… directrice de recherche ……………….…Serge Cardinal………………… membre du jury iii RÉSUMÉ Ce mémoire étudie la série Aux Abattoirs de la Villette photographiée par Eli Lotar en 1929. Il montre comment elle a été assimilée par l’histoire de l’art au texte « Abattoir » de Georges Bataille, aux côtés duquel ont été reproduites trois photos du corpus sous la rubrique Dictionnaire critique de la revue Documents . Cette emprise théorique sur la série est mise en perspective au regard de la démarche artistique d’Eli Lotar et des autres photomontages dont elle a fait l’objet ensuite. Le premier chapitre insiste sur la formation d’Eli Lotar et introduit son séjour à La Villette en lien avec la thématique de l’abattoir dans l’entre-deux-guerres. Il analyse ensuite la fortune critique d’ Aux Abattoirs de la Villette qui s’appuie sur la philosophie de l’informe chez Georges Bataille. -
La Visió Del Col·Leccionista. Els Millors Fotollibres Segons Martin Parr
1 - La visió del col·leccionista. Els millors fotollibres segons Martin Parr Owen Simmons (fotògraf desconegut) The Book of Bread Maclaren and Sons, Londres, 1903 Vladimir Maiakovski i Aleksandr Ródtxenko Pro eto. Ei i mne Gos. Izd-vo (publicacions de l’Estat), Moscou, 1923 Albert Renger-Patzsch Die Welt ist Schön Kurt Wolff Verlag, Munic, 1928 Germaine Krull Métal Librairie des Arts Décoratifs, París, 1928 August Sander Antlitz der Zeit: 60 Fotos Deutscher Menschen Transmare Verlag i Kurt Wolff Verlag, Munic, 1929 Bill Brandt The English at Home B. T. Batsford Ltd., Londres, 1936 Comissariat de propaganda de la Generalitat de Catalunya Madrid Indústries Gràfiques Seix i Barral, Barcelona, 1937 Robert Capa Death in the Making Covici Friede Inc., Nova York, 1938 Heinrich Hoffmann (ed.) Winterhilfswerk-Heftchen Bild-Dokumente Heinrich Hoffmann, Munic, de 1938 a c. 1942 KZ: Bildbericht aus fünf Konzentrationslagern Oficina d’informació de guerra nord-americana), 1945 imoni col·locat ho gaudeix] Éditions du Seuil, Album Petite Planete, París, 1956 The Great Hall of the People Editorial de belles arts del poble, Pequín, 1959 Dirk Alvermann Algerien / L’Algérie Rütten & Loening, Berlín, 1960 Dirk Alvermann vitrina Parr Algerien / L’Algérie Rütten & Loening, Berlín, 1960 (facsímil 2011) Kazuo Kenmochi Narcotic Photographic Document Inoue Shoten, Tòquio, 1963 Kazuo Kitai Teikoh Mirai-sha Press, Tòquio, 1965 Ed van der Elsken Sweet Life Harry N. Abrams Inc., Nova York, 1966 Gian Butturini London Editrice SAF, Verona, 1969 Enrique Bostelmann América: -
PHOTOGRAPHIES POUR TOUS » 12E Édition
« PHOTOGRAPHIES POUR TOUS » 12e édition — Vendredi 16 mars 2018 — Paris Salle VV, 3 rue Rossini 75009 14h30 « PHOTOGRAPHIES POUR TOUS » 12e édition Vente aux enchères publiques Vendredi 16 mars 2018 Paris Salle VV, 3 rue Rossini 75009 14h30 Expositions publiques Salle VV, 3 rue Rossini 75009 Paris Jeudi 15 mars 2018, de 11h à 19h Vendredi 16 mars 2018 de 11h à 12h Ordres d’achat sécurisés sur — Secure absentee bids on WWW.MILLON.COM www.Drouotlive.com Intégralité des lots sur millon.com Département Experts Sommaire Photographie Index ...............................................p.4 Pré-cinéma et appareils photos. .....p.5 Livres ...............................................p.9 Daguerréotypes, ambrotypes ..........p.10 Ensemble de photographies provenant de la collection personnelle de Serge Natalia RACIBORSKI Christophe GOEURY Robert Médecin, sculpteur et ami de Pablo 19 rue de la Grange Batelière 75009 Paris Tel +33 (0)6 16 02 64 91 Tel + 33 (0)7 88 09 91 86 [email protected] Picasso et de Jacqueline Roque .........p.44 Fax +33 (0)1 48 00 98 58 [email protected] Assisté de Nathalie SICLIS NASA ............................................p.149 Pour tous renseignements, ordres Tel +33 (0)6 60 39 61 62 d’achat, rapports d’état [email protected] Expertises gratuites sur rendez-vous Conditions de vente ......................p.154 Inquiries, absentee bids, condition reports, free appraisals by appointment Ordres d’achat .............................p.156 Attachée de presse : Marina David +33 6 86 72 24 21 [email protected] Intégralité des lots reproduits sur Drouotlive.com, Millon.com Index Principaux auteurs NADAR .....n° 54, 66, 69, 96, 471, 474, 566 Grèce ............................................ n° 211 Jean AGELOU ............................... -
Stepping Into the Picture
Stepping into the picture Notburga Karl Bildnachweise Abb. 1: Joan Jonas’ Vorbereitungsmappe zu The Shape, the Scent, the Feel of Things © Joan Jonas, Notburga Karl; Foto: Notburga Karl Abb. 2: Dynamische Bildtafeln © Notburga Karl; Foto: Notburga Karl Abb. 3, 4: The Shape, the Scent, the Feel of Things (Haus der Kulturen, Berlin, 2008) © Joan Jonas, Notburga Karl; Still: Notburga Karl Abb. 5: Joan Jonas’ Vorbereitungsmappe © Joan Jonas, Notburga Karl; Foto: Notburga Karl Anhang 9.2 © Joan Jonas, Notburga Karl; Videostandbilder der Dokumentation: Notburga Karl Dieses Werk ist als freie Onlineversion über das Forschungsinformationssystem (FIS; https://fis.uni-bamberg.de) der Universität Bamberg erreichbar. URN: urn:nbn:de:bvb:473-irb-496622 DOI: https://doi.org/10.20378/irb-49662 Inaugural-Dissertation in der Fakultät Geistes- und Kulturwissenschaften der Otto-Friedrich- Universität Bamberg unter dem Titel: Notburga Karl, Stepping into the Picture: Bild und Performance in Joan Jonas’ The Shape, the Scent, the Feel of Things (2005-12) Erstgutachter: Prof. Dr. Wolfgang Brassat (Kunstgeschichte) Zweitgutachterin: Prof. Dr. Andrea Sabisch (Kunstpädagogik) Datum der Abschlussprüfung: 09.07.2019 Danksagung Vielen Menschen möchte ich an dieser Stelle meinen Dank aussprechen, die im Hinter- grund auf ihre Weise zum Entstehen dieser Arbeit beitrugen, beginnend mit meiner Familie im weitesten Sinne und meinen FreundInnen, die mir immer wieder ihre Zeit, Zuversicht gaben, und ihren Humor. Ein besonders herzlicher Dank gilt dabei Christian Krug, den