Thomas Ruff, Wade Guyton, Seth Price, Kelley Walker, Spiros Hadjidjanos
Author: Markus Kramer,Thomas Ruff
Publisher: Kehrer Verlag
For the first time, Photographic Objects traces important conceptual connections between the work of Thomas Ruff and that of a younger generation of artists. Against the backdrop of ongoing debates on the "nature of photography," Marcus Kramer has developed a new approach to pinpointing what distinguishes the photographic medium from all others. The book's detailed illustrations offer an extensive overview of the work of Thomas Ruff, Wade Guyton, Seth Price, Kelley Walker, and Spiros Hadjidjanos, while the theory postulated here forms a conceptual framework for the discussion of contemporary artistic practices.
Typical architectural photography freezes buildings in an ideal moment and rarely captures what photographer Berenice Abbott called the medium's power to depict "how the past jostled the present." In Beyond the Architect's Eye, Mary N. Woods expands on this range of images through a rich analysis that commingles art, amateur, and documentary photography, genres usually not considered architectural but that often take the built environment as their subject. Woods explores how photographers used their built environment to capture the disparate American landscapes prior to World War II, when urban and rural areas grew further apart in the face of skyscrapers, massive industrialization, and profound cultural shifts. Central to this study is the work of Alfred Stieglitz, Frances Benjamin Johnston, and Marion Post Wolcott, but Woods weaves a wider narrative that also includes Alice Austen, Gertrude Käsebier, Berenice Abbott, Margaret Bourke-White, Helen Levitt, Lisette Model, Louise Dahl-Wolfe, Morgan and Marvin Smith, Eudora Welty, Samuel Gottscho, Walker Evans, Max Waldman, and others. In such disparate places as New York City, the rural South, and the burgeoning metropolis of Miami, these unconventional architectural photographers observed buildings as deeply connected to their context. Whereas Stieglitz captured New York as the quintessential modern urban landscape in the period, the South was its opposite, a land supposedly frozen in the past. Yet just as this myth of the Old South crystallized in photographs like Johnston's, a New South shaped by popular culture and modern industry arose. Miami embodied both of these visions. In Wolcott's work, agricultural fields where stoop labor persisted were juxtaposed with Art Deco hotels, a popular modernism of the machine age that remade Miami Beach into a miniaturized "Manhattan on the beach." Beyond the Architect's Eye is a groundbreaking study that melds histories of American art, cities, and architecture with visual studies of landscape, photography, and cultural geography.
Building Identity in the Federal Republic of Germany
Author: Kathleen James-Chakraborty
Publisher: U of Minnesota Press
After World War II, West Germans and West Berliners found ways of communicating both their recent sufferings and aspirations for stable communities through buildings that fused the ruins of historicist structures with new constructions rooted in the modernism of the 1910s and ‘20s. As Modernism as Memory illustrates, these postwar practices undergird the approaches later taken in influential structures created or renovated in Berlin following the fall of the Wall, including the Jewish Museum and the Reichstag, the New Museum and the Topography of Terror. While others have characterized contemporary Berlin’s museums and memorials as postmodern, Kathleen James-Chakraborty argues that these environments are examples of an “architecture of modern memory” that is much older, more complex, and historically contingent. She reveals that churches and museums repaired and designed before 1989 in Düren, Hanover, Munich, Neviges, Pforzheim, Stuttgart, and Weil am Rhein contributed to a modernist precedent for the relationship between German identity and the past developed since then in the Ruhr region and in Berlin. Modernism as Memory demonstrates that how one remembers can be detached from what one remembers, contrasting ruins with recollections of modernism to commemorate German suffering, the Holocaust, and the industrial revolution, as well as new spaces for Islam in the country.
Five Decades of the Ironic, Iconic and Critical in Architecture
Author: Charles Jencks
Publisher: John Wiley & Sons
In The Story of Post-Modernism, Charles Jencks, the authority on Post-Modern architecture and culture, provides the defining account of Post-Modern architecture from its earliest roots in the early 60s to the present day. By breaking the narrative into seven distinct chapters, which are both chronological and overlapping, Jencks charts the ebb and flow of the movement, the peaks and troughs of different ideas and themes. The book is highly visual. As well as providing a chronological account of the movement, each chapter also has a special feature on the major works of a given period. The first up-to-date narrative of Post-Modern Architecture - other major books on the subject were written 20 years ago. An accessible narrative that will appeal to students who are new to the subject, as well as those who can remember its heyday in the 70s and 80s.
Gerhard Mack,Valeria Liebermann,Herzog & de Meuron
Heterogeneous objects provides various essays that explore the encounter of photography with other media since the 1960s. The essays offer new ways of thinking about photography beyond modernist notions of medium specificity and autonomy based upon the idea that a photograph does not rely on a coherent system of codes but is almost always encountered as a fragmented, partial object. Addressing recent debates in art history and photography theory, film studies, and media theory, the contributions cover a broad array of approaches, relating photography to issues of the panorama, surveillance, sculpture, transformation and processuality, and the development of new media categories. Rather than conceiving of photography as a medium, the aim is to reconsider the photograph as a historically, theoretically, and culturally embedded heterogeneous object that is always related to, in contact with, or shaped by other media.
No Two Alike documents an exhibition curated by Ulrike Meyer Stump as part of Cincinnati's 2018 FotoFocus Biennial, with its general theme "Open Archive." The combination of Blossfeldt's biomorphism and Bruguière's abstraction offers clues for the understanding of British modernism, and offers insight into the role photography and photobooks played in the British avant-garde. Throughout his career, Thomas Ruff has expressed great interest in the history of photography and has repeatedly shown a special affinity with Blossfeldt (particularly in his Negatives series); Bruguière's abstract light compositions, on the other hand, have strong formal ties to Ruff's photograms. "No two alike" expresses the three artists' mutual interest in the variant as a creative principle, also advancing the idea that each of these bodies of work presents a variant of the other.
The period between 1880 and 1918, at the end of which Jim Crow was firmly established and the Great Migration of African Americans was well under way, was not the nadir for black culture, James Smethurst reveals, but instead a time of profound response fr
*Searchable CD ROM containing the entire book (including images) *Over 450 color images, plus never before published images provided by the George Eastman House collection, as well as images from Ansel Adams, Howard Schatz, and Jerry Uelsmann to name just a few The role and value of the picture cannot be matched for accuracy or impact. This comprehensive treatise, featuring the history and historical processes of photography, contemporary applications, and the new and evolving digital technologies, will provide the most accurate technical synopsis of the current, as well as early worlds of photography ever compiled. This Encyclopedia, produced by a team of world renown practicing experts, shares in highly detailed descriptions, the core concepts and facts relative to anything photographic. This Fourth edition of the Focal Encyclopedia serves as the definitive reference for students and practitioners of photography worldwide, expanding on the award winning 3rd edition. In addition to Michael Peres (Editor in Chief), the editors are: Franziska Frey (Digital Photography), J. Tomas Lopez (Contemporary Issues), David Malin (Photography in Science), Mark Osterman (Process Historian), Grant Romer (History and the Evolution of Photography), Nancy M. Stuart (Major Themes and Photographers of the 20th Century), and Scott Williams (Photographic Materials and Process Essentials)
Der geniale Architekt und Entwerfer Le Corbusier (1887-1965) erkannte die Wichtigkeit klarer graphischer Gestaltungskonzepte und sorgte dafür, dass seine Arbeiten bereits im Planungsstadium ausführlich fotografisch dokumentiert wurden. Anschließend kümmerte er sich dann persönlich um die Publikation zahlreicher Bücher, die unterschiedlichstes Material seines Schaffens einem breiten Publikum optimal aufbereitet zugänglich machen sollten. Denn gerade im Hinblick auf die suggestive Kraft der Fotografie, die er bei seiner Arbeit gekonnt einzusetzen verstand, war Le Corbusier seiner Zeit weit voraus. Der prächtige Band öffnet den Blick für einen bislang weniger bekannten, aber doch so wesentlichen Aspekt seines Schaffens.