DOCSLIB.ORG

BILL BRANDT Thames & Hudson

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

ART+PHOTOGRAPHY SPRING 2013 Shadow & Light BILL BRANDT Thames & Hudson www.state-media.com BOOK SPRING 2013 | 1 THE BEST OF BRANDT FROM THAMES & HUDSON NORMAN CORNISH A SHOT AGAINST TIME The storryy of Norman Cornish’s prodigious career as an arrttist who converrtted his experience as a miner into compelling imagerryy has become justly famous. Born in 1919, in Spennymoorr,, Co Durham, Norman Cornish was apprenticed at the age of 14 at the Dean and Chapter Collierryy (also known as the Butcher’s Shop), and spent the next 33 years working in various pits in the Norrtth East of England. Without diminishing the harsh Bill Brandt realities of life and work during those years, his paintings create a sense Shadow and Light of time and place by depicting the lyrical qualities of his surroundings in Sarah Hermanson Meister which time is defeated. Foreword by Glenn D. Lowry ‘Fantastic … well-written Long before the Angel of the Norrtth, Cornish’s work was loved and and interesting’ admired as a symbol of the Norrtth East. For all that the mines have closed, Amateur Photographer his work continues to be an enduring testament to a community whose ISBN 978 0 500 544242 £34.95 spirit surrvvives triumphantly. Brandt Nudes A New Perspective Preface by Lawrence Durrell Foreword by Mara-Helen Wood Commentaries by Mark Haworth-Booth Essays by William Feaververr,, William Varleyy,, Michael Chaplin and Dr Gail-Nina Anderson 140 of Bill Brandt’s classic and dramatic nudes, brought together Paperback, 160pp with 134 full colour illustrations in one beautiful volume. ISBN ISBN 978 0 500 970423 £45.00 ISBN 094794021-9 Price £10.00 each + £2.50 p&p University Gallery annd Baring Wing thamesandhudson Northumbria University, Sandyford Road, Newcastle uponon TTyyne NE1 8ST thamesandhudson.com T: 0191 227 4424 E: [email protected] wwwwwww..universitygallery.co.uk VisionsV i s i o n s ooff TTattooa t t o o AArtr t TTAATTOO IN JAPPAAN KALINGA TTAAATTTOO BLACK TTAAATTTOO ART MAGICAL TTAAATTTOOS AND SCARIFICAATTION LAATTINO ART COLLECTION Punk Michael Landy What Art Is Garry Winogrand HORIKKAAZU iiss an iconograapphical bench- Chaos to Couture Saints Alive Arthur C. Danto Edited by Leo Rubinfien markk,, and contains a ffuulllyy com- Andrew Bolton Colin Wiggins A lively meditation on the nature of art With contributions by prehensive account of traditional by one of America’s most celebrated art Jaappaneesse tattooing. YYoou wwiill eexxxpperriience With Richard Hell, John Lydon With Richard Cork Sarah Greenough, Susan Kismaric, the ffaascinating estheticcsss,, and the critics. Erin O’Toole, Tod Papageorge and Jon Savage and Jennifer Sliwka compleexx conceepption of motiffss in tra- What is it to be a work of art? and Sandra S. Phillips ditional Japanese tattoos – disspplayed An exciting exploration of the provocative Contemporary artist Michael Landy Renowned author and critic Arthur The first substantial compendium of the in gorrggeous photographss,, ffrrom KKooi to punk aesthetic and its incendiary influence reveals his latest work, an interactive KKaabukii,, ffrrom Buddha to Benzaiten. C. Danto addresses this fundamental, work of acclaimed American postwar on high fashion, this stunning book reveals sculptural installation motivated by the TThhe present selection of not prevviiousllyy complex question. Part philosophical photographer Garry Winogrand, widely how designers have looked to the imagery of Catholic saints and their published drawwiings is a true rarriittyy! quintessential anti-establishment style to monograph and part memoiristic regarded as one of the most important TTeextxt input ffrrom qualiffiied authorrss pro- accompanying stories, often gruesome, meditation, What Art Is challenges the photographers of the 20th century. This vviideess access to the secretivvee world of BLACK & GREY TTAAATTTOO 2 CHINESE TTAAATTTOO ART COLOR TAATTTOO ART originate new ideals of beauty and which were once part of common fashionability. The catalogue accompanies popular interpretation that art is an expansive volume brings together his images of Japanese tattoo art. TTaattoo- culture but are now largely unknown. indefinable concept, instead bringing isttsss,, Japan ffaans and any art lovveer wwiill a major exhibition at The Metropolitan iconic images and pictures that have certainllyy be thrilled by this unrivaled Museum of Art, New York. UK Exhibition: to light the properties that constitute never before been printed. The catalogue illustrated book. The National Gallery, London, universal meaning. for a major international exhibition. Published by The Metropolitan Museum of Art 23 May – 24 November Distributed by Yale University Press Hardback £18.99 Published in association with the 219 colour and quadratone illus. The National Gallery, London e book available San Francisco Museum of Modern Art Hardback £30.00 65 colour illus. Paperback £9.99 460 duotone illus. Hardback £55.00 tel: 020 7079 4900 YaleBooks www.yalebooks.co.uk EDITIONEDITION REUSSREUSS tattootattoo artart booksbooks areare availableavailable inin allall UUKK bbookshops;ookshops; online;online; oorr aatt www.edition-reuss.comwww.edition-reuss.com COVER IMAGE >> EDITORIAL CAPTURED BY DAFYDD JONES ISPY [email protected] ............. CREATING ART BOOKS is a discipline like There seems to be some trends showing. no other. In fact, if you take the time to analyse The prestige tomes on art and artists published the business, like Dr Johnson’s adage about today seem invariably linked to corresponding a dog walking on its hind legs and a woman exhibitions in major world class institutions, ADELINE DE MONSEIGNAT preaching – one is ‘surprised to find it done at like the Museum of Modern Art (NYC) or Ronchini Gallery all’. From the very beginning the process is a Tate Modern. This is quite understandable, as minefield of expense and potential error. Each sponsors tend to contribute to the ‘catalogue’ and every reproduction has to be sourced, an as part of the overall package. Additionally, the accurate high-res scan located and fees paid rapid growth of interest in photography, once JULIE CHRISTIE Echoes of a Vanished World where necessary. Not to mention the correct a decidedly niche market for publishers, has HOMER SYKES & NICK HACKWORTH National Theatre | BILL BRANDT, 1981 copyright information noted – especially when proved to be a lucrative and expanding arena. Photo50 London Art Fair BDC MICHAEL BIRT IVOR BRAKA & KRISTEN MCMENAMY A young photographer's rare interview at the home the voracious artists’ agencies are involved. At Especially amongst the image conscious youth Juergen Teller ICA of an enigmatic giant of 20th century photography the printing stage, only the highest quality press groupings. The biggest growth in the quality Read the full story on page 13 work can be employed because a painting that sector of print-on-demand services (like has incorrect colour values is Blurb.com) stems from self- not the painting it claims published photography titles. The to be. To be fair, digital ‘The book format book format is traditionally the printing, and the fine is traditionally means by which camera artists NEIL LIBBERT BOOK calibration this enables, has collect and present their images, Ossie Clarke Proud Chelsea the means by which ART & PHOTOGRAPHY somewhat eased the problem and it would appear that an ever of perfect colour. And it is camera artists expanding audience has emerged EDITOR BUREAU CHIEFS no longer a surprise to see willing to buy them. The dilemma Mike von Joel Lyle Owerko collect and present duo-tones superseded by faced by established publishers that [email protected] NEW YORK their images.’ Anne Chabrol four colour process in the attempt to straddle a traditional PUBLISHER reproduction of monochrome business model and the new Karl Skogland PARIS photographs. But even having produced a book internet world of downloads and tablets, is [email protected] David Tidball BERLIN on a quality paper stock (the price of which which way is forward. Until this is clear, the MARK KNOPFLER & KITTY ALDRIDGE EDITORIAL keeps fluctuating every six months) there is houses still producing beautiful, top quality art Reworked Rook & Raven Gallery ASSISTANT William Wright the matter of distribution. and photography books really do deserve our Caroline Harris SYDNEY applause, gratitude and support. KRISTEN MCMENAMY, [email protected] Elizabeth Crompton JUERGEN TELLER The Daily Telegraph reported recently that the MELBOURNE & STELLA MCCARTNEY DESIGN DIRECTOR number of UK bookshops has halved in the last This is the first Spring issue of our bi-annual ICA Tor Soreide SUSANNAH FIENNES & LAURA TENISON DISTRIBUTION six years and that, according to Experian, there BOOK supplement – free with STATE Echoes of a Vanished World & SUBSCRIPTIONS are only 1,878 left on Britain’s high streets. In magazine. By the very fact of their inclusion, SPECIAL FEATURES Julie Milne National Theatre Michaela Freeman 2012 some 400 shut down – and 600 towns each and every title reviewed here is warmly [email protected] [email protected] have no book shop at all. For art books, an recommended and a work of real merit. The actual shop is the key interface with the reader. next edition will be created in Autumn 2013. AD EXECUTIVE PUBLISHED BY Julie Milne State Media Ltd. Unlike novels, art books do not readily lend AMINA RICCIARDI CORRESPONDENTS LONDON themselves to e-book formats and certainly not Mike von Joel & GRAHAM OVENDEN Clare Henry [email protected] to super-market discount shelves. EDITOR-IN CHIEF Echoes of a Vanished World Ian McKay National Theatre PRINTED BY William Varley Garnett Dickinson All correspondence to [email protected] Georgina Turner Rotherham S63 5DL TONY ELLIOTT Art13 London Olympia BOOK is published biannually in Spring & >> IN THIS ISSUE PRINCESS JULIA & MARGOT HENDERSON Autumn and is distributed free with STATE Nicola Tyson Sadie Coles HQ magazine throughout the UK. Totally free, STATE is about new manoeuvres in painting and the VIKTOR WYND visual arts – combined with f22, & ARETHA CAMPBELL The Uncanny a supplement on developments in Ronchini Gallery the fusion of art & photography.
Recommended publications
  • Photography and Cinema

    Photography and Cinema

    Photography and Cinema David Campany Photography and Cinema EXPOSURES is a series of books on photography designed to explore the rich history of the medium from thematic perspectives. Each title presents a striking collection of approximately80 images and an engaging, accessible text that offers intriguing insights into a specific theme or subject. Series editors: Mark Haworth-Booth and Peter Hamilton Also published Photography and Australia Helen Ennis Photography and Spirit John Harvey Photography and Cinema David Campany reaktion books For Polly Published by Reaktion Books Ltd 33 Great Sutton Street London ec1v 0dx www.reaktionbooks.co.uk First published 2008 Copyright © David Campany 2008 All rights reserved No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publishers. Printed and bound in China by C&C Offset Printing Co., Ltd British Library Cataloguing in Publication Data Campany, David Photography and cinema. – (Exposures) 1. Photography – History 2. Motion pictures – History I. Title 770.9 isbn–13: 978 1 86189 351 2 Contents Introduction 7 one Stillness 22 two Paper Cinema 60 three Photography in Film 94 four Art and the Film Still 119 Afterword 146 References 148 Select Bibliography 154 Acknowledgements 156 Photo Acknowledgements 157 Index 158 ‘ . everything starts in the middle . ’ Graham Lee, 1967 Introduction Opening Movement On 11 June 1895 the French Congress of Photographic Societies (Congrès des sociétés photographiques de France) was gathered in Lyon. Photography had been in existence for about sixty years, but cinema was a new inven- tion.
  • Annual Report 2009 Annual Report Art Stations Foundation 5050

    Annual Report 2009 Annual Report Art Stations Foundation 5050

    annual report 2009 annual report art stations foundation 5050 Foundation 5 The Mission 6 Organisational structure 7 Exhibitions program 8 Dance Program 20 Music Program 32 Film Program 40 Callendar 46 3 foundation art stations foundation 5050 Art Stations Foundation is a project designed and initiated by Grażyna Kulczyk, and is the culmination of the Founder’s philosophy for running a business.. By exploring the aesthetics of contemporary art and inspiring various types of creative processes by means of exhibitions, workshops, performances, interventions and theoretical publications, the Foundation aims to assist people in their conscious personal growth and help them to open their minds to culture and discover its values. Through its projects, the Art Stations Foundation provides an interdis- ciplinary platform for the presentation and exploration of various fields of the arts, including the fine arts, dance, film and music. The audience takes part in the activities of the Art Stations Foundation’s while visiting Stary Browar, where venues devoted to the display of art include a multi-storey exhibition space and Studio Słodownia +3. In conjunction with Stary Browar, the Art Stations Foundation defines a new category of lifestyle – an art lifestyle. 4 5 the mission / organisational structure art stations foundation 5050 The Art Stations Foundation is a privately owned non-profit The Foundation was established by its Founder – Grażyna Kulczyk. organisation founded in the belief that art has a positive influ- The Founder appoints themembers of the sta. ence on the community, and that experiencing it provides The Board: young people with a chance for a better, more creative and The Board’s duties and responsibilities: more conscious life.
  • University of Texas Press Fall 2016 & Spring 2017

    University of Texas Press Fall 2016 & Spring 2017

    fall 2016 & spring 2017 frankfurt university of texas press | Index by Title | contents About Antiquities, Books for the Trade ........................4–59 Çelik ............................. 112 Trade Backlist ......................... 13, 61–63 The American Idea of Home, Friedman .....................38–39 Books for Scholars......................64–123 Arresting Development, Award Winners...........................124–125 Pizzino............................96 Sales Information ........................... 126 At the Crossroads, Paquette ...................... 78–79 Sales Representatives ...................... 127 Batos, Bolilos, Pochos, and Pelados, Staff List................................. 128–129 Richardson & Pisani .............123 Index by Author..............................129 Becoming Belafonte, Smith .. 18–19 Blood of the Earth, Young . .84 Infrastructures of Race, Picturing the Proletariat, The Burden of the Ancients, Nemsey ...........................86 Christenson .......................73 Lear .............................. 81 Inka History in Knots, Cattle in the Backlands, The Portuguese-Speaking Diaspora, Wilcox ........................... .82 Urton . .94–95 Sadlier........................ 70–71 Chrissie Hynde, Sobsey.......54–55 Iowa, Rexroth.................34–37 Practicing Transnationalism, Lundy & Lundy..................116 Classics from Papyrus to the Internet, It Starts with Trouble, Hunt, Smith, Stok . .121 Davis.........................20–21 A Pure Solar World, Youngquist....................10 –11 Connecting with
  • NATHAN LYONS: Final Chapter

    NATHAN LYONS: Final Chapter

    NATHAN LYONS: Final Chapter March 27 - April 2, 2017 Reception: Friday March 31, 7-10pm Affirmation Arts 523 W 37th Street In honor of the renowned photographer, educator, lecturer, author, and curator Nathan Lyons, Bruce Silverstein is pleased to present, in association with Affirmation Arts, Nathan Lyons: Final Chapter. This exhibition marks the first occasion that this legendary artist’s color photographs will be seen by the public. It represents the fifth and final installment of a photographic opus spanning five decades, illustrating the artist’s intention of creating and transmitting a unique visual language through photography. This exclusive first look will be a prelude to his upcoming exhibition at the George Eastman Museum in 2019. Nearly 50 years have passed since the publication of his seminal book, Notations in Passing (1971), born out of his larger, extraordinary body of work bearing the same title. The images comprising this now-iconic compilation would be the artist’s first series of ‘snapshots’. This series sought to document the American ethos of 1962-1974 through the ubiquitous vernacular elements dispersed throughout the suburban landscape. Lyons would often focus on specific advertisements, posters, signage, drawings, and graffiti–lending a voice to the otherwise fading, forgotten script. Notations in Passing was also groundbreaking in its introduction of the artist's keen interest in photographic sequencing, often laying out seemingly disparate images in pairs, allowing a range of meaning to emerge through such juxtaposition. The snapshot, not as product but as process. Unpretentious and yet important, aspiring to nothing but a notation in passing. Things as they are, or what we make of them? In attempting to let objects be, objects and object spaces, to form simultaneously a neutral yet actively observational position, to combine ‘non-photographs’ as photographs.
  • Contemporary Art Museum in the Inter- -War Period And

    Contemporary Art Museum in the Inter- -War Period And

    Muz., 2016(57): 87-94 Annualy, eISSN 2391-4815 received – 03.2016 reviewed – 04.2016 accepted – 05.2016 DOI: 10.5604/04641086.1205707 CONTEMPORARY ART MUSEUM IN THE INTER- -WAR PERIOD AND AFTER THE WAR – BETWEEN PRAGMATISM AND IDEA Aldona Tołysz Faculty of Fine Arts, Nicolaus Copernicus University in Toruń Modern art is not merely one more style. Modern art is the and legitimized the local artistic circles. For the record, let us negation of everything that used to be before […].1 The briefly outline the historical conditionings that had impact on manifesto of the revolutionary artists, that was the guideline the creation of both collections. to their art and the idea of creating an international generally In a short text on organizing museum activity in accessible art collection, expressed both determination, independent Poland published in 1922, Mieczysław and a kind of helplessness versus the reality. It seems that Terter claimed that the purpose of museums is to such definitions continue to characterize Polish museums, Collect, contemplate, multiply artistic collections […], particularly those presenting contemporary artistic output. properly conserve them, inventory them, and scientifically However, merely a year after the ‘a.r.’ Group had published catalogue them, locate them appropriately and in a its communication, i.e. in 1931, two essentially important planned way, facilitate the viewing of the collected events took place: the donating of the ‘a.r’ International works, as well as their studying, and to encourage the Collection of Modern Art to the Julian and Kazimierz widest general public to benefit from those collections Bartoszewicz City Museum of History and Art in Łódź, and […], yet at the same time to serve contemporary art the launch of the essentially quite traditional Museum of and to contribute to its development (such was the Contemporary Art in Vilnius.
  • University Microfilms International 300 N

    University Microfilms International 300 N

    THE CRITICISM OF ROBERT FRANK'S "THE AMERICANS" Item Type text; Thesis-Reproduction (electronic) Authors Alexander, Stuart Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 23/09/2021 11:13:03 Link to Item http://hdl.handle.net/10150/277059 INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame.
  • Cat151 Working.Qxd

    Cat151 Working.Qxd

    Catalogue 151 election from Ars Libri’s stock of rare books 2 L’ÂGE DU CINÉMA. Directeur: Adonis Kyrou. Rédacteur en chef: Robert Benayoun. No. 4-5, août-novembre 1951. Numéro spé cial [Cinéma surréaliste]. 63, (1)pp. Prof. illus. Oblong sm. 4to. Dec. wraps. Acetate cover. One of 50 hors commerce copies, desig nated in pen with roman numerals, from the édition de luxe of 150 in all, containing, loosely inserted, an original lithograph by Wifredo Lam, signed in pen in the margin, and 5 original strips of film (“filmomanies symptomatiques”); the issue is signed in colored inks by all 17 contributors—including Toyen, Heisler, Man Ray, Péret, Breton, and others—on the first blank leaf. Opening with a classic Surrealist list of films to be seen and films to be shunned (“Voyez,” “Voyez pas”), the issue includes articles by Adonis Kyrou (on “L’âge d’or”), J.-B. Brunius, Toyen (“Confluence”), Péret (“L’escalier aux cent marches”; “La semaine dernière,” présenté par Jindrich Heisler), Gérard Legrand, Georges Goldfayn, Man Ray (“Cinémage”), André Breton (“Comme dans un bois”), “le Groupe Surréaliste Roumain,” Nora Mitrani, Jean Schuster, Jean Ferry, and others. Apart from cinema stills, the illustrations includes work by Adrien Dax, Heisler, Man Ray, Toyen, and Clovis Trouille. The cover of the issue, printed on silver foil stock, is an arresting image from Heisler’s recent film, based on Jarry, “Le surmâle.” Covers a little rubbed. Paris, 1951. 3 (ARP) Hugnet, Georges. La sphère de sable. Illustrations de Jean Arp. (Collection “Pour Mes Amis.” II.) 23, (5)pp. 35 illustrations and ornaments by Arp (2 full-page), integrated with the text.
  • Polish Background Resources. Wilmette Public Schools District# 39

    Polish Background Resources. Wilmette Public Schools District# 39

    DOCUMENT RESUME ED 418 900 SO 028 113 AUTHOR Omalley, Joan; Koscielak, Gosia; Long, Chris Przybyla; Retzloff, Joan TITLE Polish Background Resources. Wilmette Public Schools District #39, IL. INSTITUTION Wilmette Public Schools, IL. SPONS AGENCY Illinois State Board of Education, Springfield. PUB DATE 1995-00-00 NOTE 87p.; Some maps and figures may not reproduce well. PUB TYPE Guides Non-Classroom (055) Information Analyses (070) Reference Materials Bibliographies (131) LANGUAGE EDRS PRICE MF01/PC04 Plus Postage. DESCRIPTORS Elementary Secondary Education; *Foreign Countries; Global Education; Instructional Materials; Minority Groups; North Americans; *Polish Americans; Polish Literature; Social Studies IDENTIFIERS *Poland ABSTRACT This packet contains resource materials to help teachers include Polish studies in the school curriculum. Sections include: (1) "Geography"; (2) "History"; (3) "Fine Arts"; (4) "Resources"; and (5) "Appendix," covering miscellaneous facts and figures about Poland, its education system, monuments, national parks, language, and literature. (EH) ******************************************************************************** * Reproductions supplied by EDRS are the best that can be made * * from the original document. * ******************************************************************************** PCOMAISEIE 313.A.C161GaRCKFAnD IRJESCOTJRCE IiiVIXAMETTIE I:bT.7113I4IC SCHOOLS DISTRICTateao Sam Milsmixellim, Supt. 615 Locust Wilmette, XL 60091 7013/256-2450 PERMISSION TO REPRODUCE AND DISSEMINATE THIS MATERIAL HAS BEEN GRANTED BY At. SPA GNI°L.o TO THE EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC) U.S. DEPARTMENT OF EDUCATION Office of Educational Research and Improvement rr) EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC) XThis document has been reproduced as received from the person or organization originating it. 0 Minor changes have been made to improve reproduction quality. 00 Points of view or opinions stated in this document do not necessarily represent official OERI position or policy.
  • RAY K. METZKER When Hands Weave the Light

    RAY K. METZKER When Hands Weave the Light

    LES DOUCHES LA GALERIE PRESS KIT RAY K. METZKER When hands weave the light EXHIBITION FROM MARCH 19 TO JULY 31, 2020 © Estate of Ray K. Metzker / Courtesy Les Douches la Galerie, Paris Les Douches la Galerie is pleased to present When hands weave the light, our second exhibition dedicated to the work of Ray K. Metzker. Composed of some fifty prints taken from various series, this exhibition highlights his sustained interest in experimentation. A virtuoso of light and absolute master of his prints, Metzker pushes the formal boundaries of the photographic medium as well as those of American urban space. These photographs, taken between 1957 and 1982, offer a unique visual journey through the streets of Chicago, Philadelphia, Atlantic City and several European cities. Les Douches la Galerie Contact : Françoise Morin Du mercredi au samedi 5, rue Legouvé 75010 Paris 01 78 94 03 00 de 14h à 19h lesdoucheslagalerie.com [email protected] ou sur rendez-vous When hands weave the light PRESS RELEASE In twenty-five years, Ray Metzker has produced more than a dozen series of photographs, each series radically different from the others. He has steadily sought new vision, asking, “Why does new vision matter? Do I need this? Does it increase my capacity to care? No, but it increases my capacity to think.”1 For Metzker, the struggle for new vision is an act against inertia and stillness and toward intensity and knowledge. (…) Each new series of photographs begins with a change in his preoccupations about photography or with a change in what – or where – he is photographing.
  • Read a Free Sample

    Read a Free Sample

    BILL BRANDT 2 The Museum of Modern Art, New York BILL BRANDT SHADOW & LIGHT Sarah Hermanson Meister 5 Published in conjunction with the Published by The Museum of Front cover: Belgravia, London, 1951. exhibition Bill Brandt: Shadow and Light, Modern Art, New York Gelatin silver print, 9 ¼ x 7 ½" (23.5 x Director’s Foreword ............................. 6 1 LoNDON IN THE THIRTIes ........ 32 List of Plates .........................................182 at The Museum of Modern Art, New 11 West 53 Street 19.1 cm). Collection David Dechman York (March 6–August 12, 2013), New York, NY 10019 and Michel Mercure Glenn D. Lowry organized by Sarah Hermanson Meister, www.moma.org (see page 150) 2 NORTHERN ENGLAND .............. 70 Curator, Department of Photography. “No Rules”: An Illustrated .....................186 © 2013 The Museum of Modern Art, Back cover: Henry Moore, 1960. Gelatin Acknowledgments ................................ 8 Glossary of Bill Brandt’s Major support for the exhibition is New York silver print, 9 ⅛ x 7 ¹³⁄16" (23.1 x 19.8 cm). provided by GRoW Annenberg/ The Museum of Modern Art, New York. Sarah Hermanson Meister 3 WORLD WAR II ............................84 Retouching Techniques Annenberg Foundation, The Robert All works by Bill Brandt are © 2013 Gift of Edwynn Houk Mapplethorpe Foundation, Heidi and Bill Brandt Archive Ltd. Copyright (see page 118) Lee Ann Daffner Richard Rieger, Ronit and William credits for certain illustrations are cited .............................. 10 4 PORTRAITS ................................. 108 Berkman, and by Peter Schub, in honor in the photograph credits on page 207. Endpapers: Detail of Cuckmere River, Shadow and Light: of Anne and Joel Ehrenkranz. Research All rights reserved. Sussex, 1963 The Life and Art of Bill Brandt Bill Brandt’s Published .......................
  • The History of Photography: the Research Library of the Mack Lee

    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.
  • Artium Quaestiones XXVI

    Artium Quaestiones XXVI

    1 UNIWERSYTET IM. ADAMA MICKIEWICZA W POZNANIU INSTYTUT HISTORII SZTUKI Artium Quaestiones XXVI POZNAŃ 2015 2 RADA REDAKCYJNA | EDITORIAL BOARD Redaktor | Editor in Chief TADEUSZ J. ŻUCHOWSKI (UAM|AMU) Rada redakcyjna | Editorial Board IVAN GERÁT, Bratislava (Slovenska akadémia vied | Slovak Academy of Sciences) JAROSŁAW JARZEWICZ, Poznań (UAM | AMU) LEONHARD HELTEN, Halle-Wittenberg (Martin Luther Universität | Martin Luther University) Sekretarz redakcji | Editorial Assistant PIOTR JUSZKIEWICZ (UAM|AMU) „Artium Quaestiones” wydawane przez | edited by Instytut Historii Sztuki UAM | Department of Art History AMU Uniwersytet im. Adama Mickiewicza w Poznaniu (UAM) | Adam Mickiewicz University of Poznań (AMU) © Uniwersytet im. Adama Mickiewicza w Poznaniu, Wydawnictwo Naukowe UAM, Poznań 2015 Reprodukcje fotografii (jeśli nie zaznaczono inaczej pod ilustracjami) RYSZARD RAU Okładkę projektował PIOTR SIKORSKI Redaktor HALINA OSZMIAŃSKA Redaktor techniczny DOROTA BOROWIAK Łamanie komputerowe KRYSTYNA JASIŃSKA ISBN 978-83-232-2911-7 ISSN 0239-202X WYDAWNICTWO NAUKOWE UNIWERSYTETU IM. ADAMA MICKIEWICZA W POZNANIU 61-701 POZNAŃ, UL. FREDRY 10 www.press.amu.edu.pl Sekretariat: tel. 61 829 46 46, faks 61 829 46 47, e-mail: [email protected] Dział sprzedaży: tel. 61 829 46 40, e-mail: [email protected] Wydanie I. Ark. wyd. 20,00. Ark. druk. 15,375 DRUK I OPRAWA: UNI-DRUK, LUBOŃ, UL. PRZEMYSŁOWA 13 3 SPIS TREŚCI Agata Jakubowska, Piotr Piotrowski. Portret praktyka krytycznej historii sztuki ........................................................... 5 Bibliografia publikacji Profesora dr. hab. Piotra Piotrowskiego ........... 15 ROZPRAWY Albert Boesten-Stengel, Danzig am Mittelmeer. Die Bronzeskulptur des Neptunbrunnens – Ikonographie, Bilderfindung und Bedeutung ...... 35 Tadeusz J. Żuchowski, Wo manchmal die Gebeine bleichen ............. 63 Mateusz Salwa, Estetyka, etyka i logika ogrodu.