The European Photography List of Forty Books
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Koudelka-Exhibition-Proposal.Pdf
Josef Koudelka, Invasion 68 Prague: Checklist 1 Warsaw Pact tanks invade Prague, Czechoslovakia, Au- gust 21, 1968. Josef Koudelka/Magnum Photos 35.75 x 23.25 inches Archival pigment print mounted on PETG with wood brace. Insurance value: $300 PAR67284 KOJ1968004 W00497/29 pp.10-11 Prague, Czechoslovakia, August 1968 2 Josef Koudelka/Magnum Photos 35.75 x 23.25 inches Archival pigment print mounted on PETG with wood brace. Insurance value: $300 PAR340107 KOJ1968004 W00484/06 pp. 26-27 3 Prague, Czechoslovakia, August 1968. Josef Koudelka/Magnum Photos 35.75 x 23.25 inches Archival pigment print mounted on PETG with wood brace. Insurance value: $300 PAR339562 KOJ1968004 W00479/X pp. 36-37 4 Invasion by Warsaw Pact troops, Prague, Czechoslavakia, August 1968. Josef Koudelka/Magnum Photos 35.75 x 23.25 inches Archival pigment print mounted on PETG with wood brace. Insurance value: $300 PAR67283 KOJ1968004 W00458/28 pp. 22-23 1 5 Invasion by Warsaw Pact troops, Prague, Czechoslavakia, August 1968. Josef Koudelka/Magnum Photos 35.75 x 23.25 inches Archival pigment print mounted on PETG with wood brace. Insurance value: $300 PAR67286 KOJ1968004 W00454/14 pp. 24-25 Prague, Czechoslovakia, August 1968. 6 Josef Koudelka/Magnum Photos 35.75 x 23.25 inches Archival pigment print mounted on PETG with wood brace. Insurance value: $300 PAR 67297 PAR67285 PAR67290 PAR67289 pp. 30-31 7 Prague, Czechoslovakia, August 1968. Josef Koudelka/Magnum Photos 35.75 x 23.25 inches Archival pigment print mounted on PETG with wood brace. Insurance value: $300 PAR339564 PAR339565 PAR339563 PAR339561 pp. -
Project #3: Inspired By… - Description Critique Date - 3/29/19 (Fri)
Project #3: Inspired by… - Description Critique Date - 3/29/19 (Fri) "The world is filled to suffocating. Man has placed his token on every stone. Every word, every image, is leased and mortgaged. We know that a picture is but a space in which a variety of images, none of them original, blend and clash." – Sherrie Levine Conceptual Requirements: In this project, you will do your best to interpret the style of a particular photographer who interests you. You will research them as well as their work in order to make photographs that have a signature aesthetic or approach that is specific to them, and also contribute your ideas. Technical Requirements: 1. Start with the list on the back of this page (the Project Description sheet), and start web searches for these photographers. All the ones listed are masters in their own right and a good starting point for you to begin your search. Select one and confirm your choice with me by the due date (see the syllabus). 2. After choosing a photographer, go on the web and to the library to check out books on them, read interviews, and look at every image you can that is made by them. Learn as much as you can and take notes on your sources. 3. Type your name, date, and “Project 3: Inspired by...” at the top of a Letter sized page. Then write a 2 page research paper on your chosen photographer. Be sure to include information such as where and when they were born, where it is that they did their work, what kind of camera and film formats they used, their own personal history, etc. -
Downloaded From: Usage Rights: Creative Commons: Attribution-Noncommercial-No Deriva- Tive Works 4.0
Daly, Timothy Michael (2016) Towards a fugitive press: materiality and the printed photograph in artists’ books. Doctoral thesis (PhD), Manchester Metropolitan University. Downloaded from: https://e-space.mmu.ac.uk/617237/ Usage rights: Creative Commons: Attribution-Noncommercial-No Deriva- tive Works 4.0 Please cite the published version https://e-space.mmu.ac.uk Towards a fugitive press: materiality and the printed photograph in artists’ books Tim Daly PhD 2016 Towards a fugitive press: materiality and the printed photograph in artists’ books Tim Daly A thesis submitted in partial fulfilment of the requirements of the Manchester Metropolitan University for the degree of Doctor of Philosophy MIRIAD Manchester Metropolitan University June 2016 Contents a. Abstract 1 b. Research question 3 c. Field 5 d. Aims and objectives 31 e. Literature review 33 f. Methodology 93 g. Practice 101 h. Further research 207 i. Contribution to knowledge 217 j. Conclusion 220 k. Index of practice conclusions 225 l. References 229 m. Bibliography 244 n. Research outputs 247 o. Appendix - published research 249 Tim Daly Speke (1987) Silver-gelatin prints in folio A. Abstract The aim of my research is to demonstrate how a practice of hand made books based on the materiality of the photographic print and photo-reprography, could engage with notions of touch in the digital age. We take for granted that most artists’ books are made from paper using lithography and bound in the codex form, yet this technology has served neither producer nor reader well. As Hayles (2002:22) observed: We are not generally accustomed to thinking about the book as a material metaphor, but in fact it is an artifact whose physical properties and historical usage structure our interactions with it in ways obvious and subtle. -
Notable Photographers Updated 3/12/19
Arthur Fields Photography I Notable Photographers updated 3/12/19 Walker Evans Alec Soth Pieter Hugo Paul Graham Jason Lazarus John Divola Romuald Hazoume Julia Margaret Cameron Bas Jan Ader Diane Arbus Manuel Alvarez Bravo Miroslav Tichy Richard Prince Ansel Adams John Gossage Roger Ballen Lee Friedlander Naoya Hatakeyama Alejandra Laviada Roy deCarava William Greiner Torbjorn Rodland Sally Mann Bertrand Fleuret Roe Etheridge Mitch Epstein Tim Barber David Meisel JH Engstrom Kevin Bewersdorf Cindy Sherman Eikoh Hosoe Les Krims August Sander Richard Billingham Jan Banning Eve Arnold Zoe Strauss Berenice Abbot Eugene Atget James Welling Henri Cartier-Bresson Wolfgang Tillmans Bill Sullivan Weegee Carrie Mae Weems Geoff Winningham Man Ray Daido Moriyama Andre Kertesz Robert Mapplethorpe Dawoud Bey Dorothea Lange uergen Teller Jason Fulford Lorna Simpson Jorg Sasse Hee Jin Kang Doug Dubois Frank Stewart Anna Krachey Collier Schorr Jill Freedman William Christenberry David La Spina Eli Reed Robert Frank Yto Barrada Thomas Roma Thomas Struth Karl Blossfeldt Michael Schmelling Lee Miller Roger Fenton Brent Phelps Ralph Gibson Garry Winnogrand Jerry Uelsmann Luigi Ghirri Todd Hido Robert Doisneau Martin Parr Stephen Shore Jacques Henri Lartigue Simon Norfolk Lewis Baltz Edward Steichen Steven Meisel Candida Hofer Alexander Rodchenko Viviane Sassen Danny Lyon William Klein Dash Snow Stephen Gill Nathan Lyons Afred Stieglitz Brassaï Awol Erizku Robert Adams Taryn Simon Boris Mikhailov Lewis Baltz Susan Meiselas Harry Callahan Katy Grannan Demetrius -
Josef Koudelka Wall Label
The Museum of Modern Art H West 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable-. Modernart WALL LABEL JOSEF KOUDELKA February 2^ -April 30, 1975 The Czech photographer Josef Koudelka was born in the Moravian town of Boskovice in 1938, the year in which the cession of the Sudetenland to Germany began the dismemberment of the young Czechoslovakian republic. Koudelka attended the Technical University of Prague, and took his degree in aeronautical engineering. He worked in this field until 1967; since then he has devoted himself entirely to photography. His earlier work as a photographer was concerned largely with interpretation of the theater, and includes a book on Alfred Jarry's Ubu Roi and considerable work for the magazine Divadlo (Theater). In the past decade the major continuing subject of his work has been the Gypsies of Europe. Koudelka left Czechoslovakia in 1968--the year in which the "Prague Spring" was answered with military occupation by the Soviet Union, East Germany, Poland, Hungary, and Bulgaria. He has since traveled in England, France, Ireland, and Spain. The Czech critic Anna F^rova* has noted that photographers in her country have generally regarded the expressive and the documentary functions of ,'heir medium as antithetical. In this view, the artistic potentials of photography are served by idealized interpretations of recognizably poetic subject matter. Photographs with topical relevance, on the other hand, are judged by a utilitarian standard, to which aesthetic values are thought irrelevant. Elsewhere such attempts to divide the role of photography into spiritual and mundane categories have met with little success. -
This Book Is a Compendium of New Wave Posters. It Is Organized Around the Designers (At Last!)
“This book is a compendium of new wave posters. It is organized around the designers (at last!). It emphasizes the key contribution of Eastern Europe as well as Western Europe, and beyond. And it is a very timely volume, assembled with R|A|P’s usual flair, style and understanding.” –CHRISTOPHER FRAYLING, FROM THE INTRODUCTION 2 artbook.com French New Wave A Revolution in Design Edited by Tony Nourmand. Introduction by Christopher Frayling. The French New Wave of the 1950s and 1960s is one of the most important movements in the history of film. Its fresh energy and vision changed the cinematic landscape, and its style has had a seminal impact on pop culture. The poster artists tasked with selling these Nouvelle Vague films to the masses—in France and internationally—helped to create this style, and in so doing found themselves at the forefront of a revolution in art, graphic design and photography. French New Wave: A Revolution in Design celebrates explosive and groundbreaking poster art that accompanied French New Wave films like The 400 Blows (1959), Jules and Jim (1962) and The Umbrellas of Cherbourg (1964). Featuring posters from over 20 countries, the imagery is accompanied by biographies on more than 100 artists, photographers and designers involved—the first time many of those responsible for promoting and portraying this movement have been properly recognized. This publication spotlights the poster designers who worked alongside directors, cinematographers and actors to define the look of the French New Wave. Artists presented in this volume include Jean-Michel Folon, Boris Grinsson, Waldemar Świerzy, Christian Broutin, Tomasz Rumiński, Hans Hillman, Georges Allard, René Ferracci, Bruno Rehak, Zdeněk Ziegler, Miroslav Vystrcil, Peter Strausfeld, Maciej Hibner, Andrzej Krajewski, Maciej Zbikowski, Josef Vylet’al, Sandro Simeoni, Averardo Ciriello, Marcello Colizzi and many more. -
Josef Koudelka: Invasion 68: Prague Free Download
JOSEF KOUDELKA: INVASION 68: PRAGUE FREE DOWNLOAD Josef Koudelka,Jaroslav Cuhra,Jiri Hoppe,Jiri Suk | 295 pages | 01 Aug 2008 | aperture | 9781597110686 | English | United States Josef Koudelka – Invasion 68 Prague Josef Koudelka. Lime Stoneby Josef Koudelka. That all changed on the night of August 21, when Warsaw Pact tanks invaded the city of Josef Koudelka: Invasion 68: Prague, ending the short-lived political liberalization in Czechoslovakia that came to be known as the Prague Spring. At the same time photographs were also assembled by Erwitt as a news clip for television. Invasion by Warsaw Pact troops near the Radio headquarters. In the days before, tanks of Josef Koudelka: Invasion 68: Prague Warsaw Pact had entered the city to the screech of tank tracks on the cobbles. I suppose that could be said of all of Koudelka's best work. Though the images gathered in this remarkable publication document a specific historical event, their transformative quality still resonates. Friedrichs price: Euro. Koudelka had returned home the day before from photographing gypsies in Romania. Friend Reviews. Invasion: Prague 68 Josef Koudelka. I responded to it. Enlarge cover. Magnum Photos. David Hurn Shop Now. Sixteen years later, after his father died, his photographs were credited with his name. Cookie preferences. Add to Wishlist. After leaving Czechoslovakia in on a three-month exit visa, Koudelka remained in the West, received asylum as Josef Koudelka: Invasion 68: Prague political refugee in Josef Koudelka: Invasion 68: Prague and became a member of the Magnum photographic collective inbefore he moved to Paris in Josef Koudelka, a Czech photographer, took his camera and mingled in the masses on the streets. -
MAGNUM PHOTOS and PICTO 1950-2020
70 Years of Correspondences: MAGNUM PHOTOS and PICTO 1950-2020 NEW YORK, NY / ACCESSWIRE / Oct 26, 2020 / RICHARD TAITTINGER GALLERY is pleased to announce the exhibition 70 YEARS OF CORRESPONDENCES: MAGNUM PHOTOS AND PICTO 1950-2020, curated by photography historian Carole Naggar. This exhibition is a collaboration with MAGNUM PHOTOS and PICTO and a celebration of the seventy years of partnership between two important institutions in the photo world. This exhibition consists of three parts - YESTERDAY, TODAY and TOMORROW - and is an overview of this continuous collaboration since 1950. It is presented through the work of nineteen photographers and more than 100 prints (vintage and modern). Curated by Carole Naggar October 29 - December 20, 2020 Opening: October 29, 2020, 2 p.m. - 9 p.m. MAGNUM PHOTOS was founded in Paris in 1947 by Robert Capa, Henri Cartier-Bresson, George Rodger and David 'Chim' Seymour in response to World War II and the need to observe and report on the state of the world. Today her agency has 89 international members (past and present). Founded in 1950 by Pierre and France Gassmann, PICTO produced works for Magnum's founders such as Henri Cartier-Bresson, Robert Capa and Chim, as well as other notable artists such as William Klein, Willy Ronis, Robert Doisneau and Edouard Boubat. Photography is an innovative medium that records history and change and deals with them. This exhibition celebrates leading figures in the field and offers a journey through the medium of the past 70 years that invites us to imagine its future. 70 YEARS OF CORRESPONDENCES: MAGNUM PHOTOS AND PICTO 1950-2020 will be on display at RICHARD TAITTINGER GALLERY, 154 Ludlow Street, from October 29th to December 20th, 2020. -
Photographer Presentation: Josef Koudelka
Phot150 Steven Veit May 5, 2010 Photographer Presentation: Josef Koudelka Andrew Henderson/The New York Times The photographer Josef Koudelka at his “Invasion 68: Prague” exhibition at Aperture Gallery. Career Trajectory/ Years of Work/Impact of History on Work: Born 1938, Moravia, Czechoslovakia Mid‐‘50’s: Studies mechanical engineering. Begins photographing in late 50’s. Early 60’s: Photographs Gypsies and Prague theater, while working as an aeronautics engineer. 1967: Exhibits Gypsy photographs in Prague and leaves engineering to pursue photographic work on a full‐time basis. 1968: Happens to return home to Prague the day before the Soviet invasion of Czechoslovakia, which he then photographs. Gives invasion photos to a visiting photography curator from the Smithsonian who brings them to the New York, where they are published anonymously through the efforts of Elliott Erwitt at Magnum. 1970: Leaves Czechoslovakia for London and is granted asylum in UK. During ‘70’s, travels throughout Europe photographing Gypsies and urban and rural landscapes. 1975 :“Gypsies” published. 1987: Becomes French citizen, photographs panoramic images of French northern‐ coastal landscape, particularly the changes caused by construction of the channel tunnel. 1988: “Exiles” published. 1990: Visits Czechoslovakia after 20 years of exile, photographs eastern Europe, particularly the devastated ore‐mining region of northern Bohemia, southern Germany, and Poland. 1994: “The Black Triangle” published. Photographs panoramas of South Wales. 1999: “Chaos” published. Since 2000, has continued photographing panoramic images of landscapes. Impact of Koudelka’s Czech Nationality on his Work: The Czech theater scene and the Czech Gypsy community were important early influences. His Czech nationality led directly to his fortuitous return to Prague just in time to witness the 1968 Soviet invasion, which was arguably the key event in defining his photographic career. -
The Original Copy: Photography of Sculpture, 1839 to Today
The Original Copy: Photography of Sculpture, 1839 to Today The Museum of Modern Art, New York August 01, 2010-November 01, 2010 6th Floor, Special Exhibitions, North Kunsthaus Zürich February 25, 2011-May 15, 2011 Sculpture in the Age of Photography 1. WILLIAM HENRY FOX TALBOT (British, 1800-1877) Bust of Patroclus Before February 7, 1846 Salt print from a calotype negative 7 x 6 5/16" on 8 7/8 x 7 5/16" paper (17.8 x 16 cm on 22.5 x 18.6 cm paper) The J. Paul Getty Museum, Los Angeles, California, 84.XP.921.2 2. ADOLPHE BILORDEAUX (French, 1807-1875) Plaster Hand 1864 Albumen silver print 12 1/16 x 9 3/8" (30.7 x 23.8 cm) Bibliothèque nationale de France, Paris 3. LORRAINE O'GRADY (American, born 1934) Sister IV, L: Devonia's Sister, Lorraine; R: Nefertiti's Sister, Mutnedjmet from Miscegenated Family Album 1980/94 Silver dye bleach print 26 x 37" (66 x 94 cm) Courtesy the artist and Alexander Gray Associates, New York 4. CHARLES NÈGRE (French, 1820-1880) The Mystery of Death, Medallion by Auguste Préault November 1858 Photogravure 10 1/2 x 10 1/2" (26.6 x 26.7 cm) National Gallery of Canada, Ottawa Purchased 1968 The Original Copy: Photography of Sculpture, 1839 to Today - Exhibition Checklist Page 1 of 73 5. KEN DOMON (Japanese, 1909-1990) Right Hand of the Sitting Image of Buddha Shakyamuni in the Hall of Miroku, Muro-Ji, Nara 1942-43 Gelatin silver print 12 7/8 x 9 1/2" (32.7 x 24.2 cm) The Museum of Modern Art, New York. -
Words Without Pictures
WORDS WITHOUT PICTURES NOVEMBER 2007– FEBRUARY 2009 Los Angeles County Museum of Art CONTENTS INTRODUCTION Charlotte Cotton, Alex Klein 1 NOVEMBER 2007 / ESSAY Qualifying Photography as Art, or, Is Photography All It Can Be? Christopher Bedford 4 NOVEMBER 2007 / DISCUSSION FORUM Charlotte Cotton, Arthur Ou, Phillip Prodger, Alex Klein, Nicholas Grider, Ken Abbott, Colin Westerbeck 12 NOVEMBER 2007 / PANEL DISCUSSION Is Photography Really Art? Arthur Ou, Michael Queenland, Mark Wyse 27 JANUARY 2008 / ESSAY Online Photographic Thinking Jason Evans 40 JANUARY 2008 / DISCUSSION FORUM Amir Zaki, Nicholas Grider, David Campany, David Weiner, Lester Pleasant, Penelope Umbrico 48 FEBRUARY 2008 / ESSAY foRm Kevin Moore 62 FEBRUARY 2008 / DISCUSSION FORUM Carter Mull, Charlotte Cotton, Alex Klein 73 MARCH 2008 / ESSAY Too Drunk to Fuck (On the Anxiety of Photography) Mark Wyse 84 MARCH 2008 / DISCUSSION FORUM Bennett Simpson, Charlie White, Ken Abbott 95 MARCH 2008 / PANEL DISCUSSION Too Early Too Late Miranda Lichtenstein, Carter Mull, Amir Zaki 103 APRIL 2008 / ESSAY Remembering and Forgetting Conceptual Art Alex Klein 120 APRIL 2008 / DISCUSSION FORUM Shannon Ebner, Phil Chang 131 APRIL 2008 / PANEL DISCUSSION Remembering and Forgetting Conceptual Art Sarah Charlesworth, John Divola, Shannon Ebner 138 MAY 2008 / ESSAY Who Cares About Books? Darius Himes 156 MAY 2008 / DISCUSSION FORUM Jason Fulford, Siri Kaur, Chris Balaschak 168 CONTENTS JUNE 2008 / ESSAY Minor Threat Charlie White 178 JUNE 2008 / DISCUSSION FORUM William E. Jones, Catherine -
On Being a Photographer, 3Rd Edition
Photography/Photojournalism $12.95 USD Revised – Third Edition! “A photographer might forget his camera and live to tell the ON BEING A PHOTOGRAPHER tale. But no photographer who survives has ever forgotten the lessons in this book. It is not just essential reading, it’s compulsory.” DAVID HURN/Magnum Daniel Meadows Head of Photojournalism, Center for Journalism Studies, in conversation with University of Wales “A very useful book. It discusses issues which will benefit all BILL JAY photographers irrespective of type, age or experience – and it does so in a clear and interesting manner. I recommend it.” Van Deren Coke past Director of the International Museum of Photography and author of The Painter and the Photograph “I read On Being a Photographer in one sitting. This is an invaluable book for its historical and aesthetic references as well as David’s words, which go to the heart of every committed David Hurn/ on being photographer – from the heart of a great photographer. It is inspiring.” Frank Hoy Associate Professor, Visual Journalism, The Walter Cronkite School Magnum a of Journalism and Telecommunication, Arizona State University “We all take photographs but few of us are photographers. On Being a Photographer talks clearly and cogently about the difference … and Bill Jay photog- the book is rich in practical detail about how to practice as a photographer and to create worthwhile pictures.” Barry Lane past-Director of Photography at the Arts Council of Great Britain and presently Secretary-General rapher of The Royal Photographic